The Art of Boxing

“In the clearing stands a boxer and a fighter by his trade and he carries the reminders of every blow that laid him down or cut him till he dried out in his anger and his shame, I am leaving, I am leaving, but the fighter still remains.”  Paul Simon, The Boxer

Terme Boxer
Terme Boxer

 There has a been a strong connection between boxing and the arts that goes back thousands of years. The Terme Boxer from 1st Century ancient Greece is one of the finest pieces of sculpture ever created, and it shows clearly the face of a veteran boxer who has suffered the blows that Paul Simon wrote so expressively about. Look closely at this work and you will see the broken nose and cauliflower ears that is the trademark of boxers throughout the ages. Note how his hands are bandaged to not only protect his fists, but to also

allow him to inflict more punishment on his opponents. The grim determination in his face is very moving. After a visit to New York City, this warrior is back home in Rome.

Sugar Ray and Sammy Davis Jr. rehearsing Golden Boy
Sugar Ray and Sammy Davis Jr. rehearsing Golden Boy

Fighters have been portrayed in plays and movies over and over again. On the stage Golden Boy, by Clifford Odets first played on Broadway in 1937 with Luther Adler playing the lead role of Joe. The supporting cast was absolutely amazing and included Lee J. Cobb, Karl Malden, Elia Kazan, Harry Morgan, Howard DeSilva, Karl Malden, and John Garfield.  It doesn’t get any better then that. Garfield would go on to play the lead role in a revival of the play in 1952. Garfield also portrayed Charley Davis in the movie Body and Soul, another great boxing movie and his most famous role. Years later Sammy Davis Jr. would step into the same role of golden Boy. He got some expert coaching for the part from a guy who knew a little about boxing, the great Sugar Ray robinson.

In 1997 I had the good fortune to see the world premiere of a new play, Tunney / Shakespeare In Six Rounds. The play was written by David E. Lane and starred Jack Wetherall. Appropriately, it opened at the Merrimack Rep in the great boxing town of Lowell. The story line is based on the time Gene Tunney gave a lecture on Shakespeare at Yale University. Wetherall was superb in the role of Tunney and showed the intellectual side of the great champion who loved Shakespeare as much as boxing. I hope to see it revived some day, as it deserves to be seen by a larger audience.

Rocky The Musical, Doodle by Ken Fallin
Rocky The Musical, Doodle by Ken Fallin

Rocky, The Musical will be opening on Broadway this February. I am curious to see how that is staged. Will Rocky be serenading Apollo Creed? Could be interesting.

Boxing lends itself very well to the big screen. I have already mentioned Body and Soul, but there are so many others. Who can ever forget Marlon Brando as Terry Malloy in On The Waterfront. His lines, “I could have been a contender” are firmly embedded in the American culture. Robert Ryan was outstanding in the role of Bill Stoker Thompson, the washed up pug stepping into the ring in The Setup, a great film noir and one of the best boxing movies ever made. Ryan had been a champion college boxer and it shows in the fight scenes. Other great boxing movies include Fat City with Stacy Keach, Champion starring Kirk Douglas, and Raging Bull, the life of Jake LaMotta with Robert DeNiro in the lead role. Filmed in balck and white and filled with raw intensity, it is considered one of the best American movies ever made.

Stag at Sharkey's, George Bellows
Stag at Sharkey’s, George Bellows

Both Thomas Eakins and George Bellows did some great paintings of boxers. Bellows was from the Ashcan School of Art and portrayed the fighters in his work as almost blending into each other. Stag at Sharkey’s was his most famous, but he also did a terrific piece with his subject being the Dempsey Firpo fight. Bellows always included himself in his paintings. It is a bit like how Alfred Hitchcock always made an appearance in his films.

Eakins’ work was more traditional but very detailed and impressive. His two most well known boxing pieces are Between Rounds and Salutat. Both were painted in the 1890s and appear to be set in private clubs. They look quite sanitized when compared with Bellows’ work, but are beautiful works.

Shakespeare Boxing

Take some time to explore this connection between the arts and boxing. You will also find plenty of music, literature, and poetry on the subject. It is a rich and fun topic. If Will Shakespeare had been around back in the glory days of boxing, I am sure you would have found him hanging out at Stillman’s Gym.

Happy New Year to all of my readers. I do hope this is a safe year for all those brave boxers who enter the ring, and I hope they are respected and cared about by those who make so much money off of them.

 

 

Rare Film Surfaces

By

Mike Silver

I have been intrigued by the great middleweight boxer Mike Gibbons ever since I read that Gene Tunney tried to duplicate his style. “I learned more about boxing by watching Mike Gibbons in the gym than from any other source”, said Tunney. That is high praise from one of boxing’s all time ring scientists. Mike’s younger brother, Tommy, was also a master boxer but was a bit more aggressive and packed a heavier wallop. He is best remembered for surviving 15 rounds with Jack Dempsey in 1923.

Boxing over Braodway - Gibbons McFarland
Mike Gibbons (right) squares off against Packy McFarland before their 1915

Mike Gibbons was known as “The St. Paul Phantom”. The nickname honored his home town and his uncanny defensive skills. Opponents were constantly missing him with their punches. Gibbons was one of the early pioneers of the “sweet science”, wherein footwork, timing, distance and balance were fundamental to the art. According to Boxrec.com, over the course of a 15 year career (1907-1922) Gibbons had 133 bouts. His three official losses occurred when he was past his prime. Among the many outstanding opponents he faced were Harry Greb, Leo Houck, Ted Kid Lewis, Jimmy Clabby, Soldier Bartfield, Al McCoy, Jeff Smith, Eddie McGoorty and Jack Dillon.

Another quality opponent of Gibbons was middleweight contender Augie Ratner of New York. As an amateur Augie won both National A.A.U. and international welterweight titles. He turned pro in 1915. By the time his 104 bout career ended in 1926 Ratner had fought (on multiple occasions) many of the top fighters of his era, including Harry Greb, Ted Kid Lewis, Dave Shade, Jack Delaney, Paul Berlanbach, Jock Malone, Lou Bogash and Bryan Downey.

At the age of 71 Ratner was interviewed in the August 1967 issue of Boxing Illustrated magazine. He told the interviewer that Ted Kid Lewis and Harry Greb were the best fighters he ever faced. “Both were great”, said Ratner. “Lewis could box and he could hit. Greb was not as other men; he started his fights at a fast pace and accelerated it as the fight went on.”

But of all his opponents Ratner considered Mike Gibbons the best boxer he ever fought. “Gibbons was a wonderful boxer,” he said. “Maybe the very best I ever saw. He employed a peculiar footwork—none of the fancy-dan steps some of the moderns use, but a gliding maneuver that proved amazingly effective and energy-conserving. He knew every defensive move in the book, but he was by no means all defense. When he went on the attack, the punches came thick and fast, hard and true. He was a marvel.”[1]

Only one film of Gibbons in action is known to exist—his 1915 10 round no-decision bout with the great Packey McFarland. Sadly the film is not available on YouTube. (Maybe our indefatigable editor can come up with it). But recently I came across another YouTube of Gibbons giving boxing instruction to American soldiers in training during World War I. It is quite impressive and a revelation to those who think boxing back then was crude and unsophisticated. Gibbons is shown demonstrating various punches (including stepping in with “the old one-two”), and also blocking, slipping and countering techniques. These are fundamental moves but rarely seen in today’s world of “I hit you, now you hit me” school of crude and unsophisticated boxing. The rest of the film–Gibbons is only featured in the first few minutes–is just as interesting, as it shows Uncle Sam’s Doughboys getting judo instruction and lessons in bayonet fighting. It is a rare glimpse back in time and well worth the ten minutes it takes to view it.

Note: Boxing historian Mike Silver is the author of “The Arc of Boxing: The Rise and Decline of the Sweet Science” (McFarland Publishing Co.)

[1] Harry Cleavelin, “Augie Ratner: Champ Without A Crown!”, Boxing Illustrated (February 1967), p. 38-40.

Talking with Joe Cross About Not Being Fat, Sick, And Nearly Dead

“People are sick and tired of being sick and tired.”

In 2010 the movie “Fat, Sick, and Nearly Dead” was released. It was directed by Joe Cross and chronicled his journey from a 310 lb man suffering from a rare autoimmune disease and taking a handful of medications everyday to a 210 lb picture of health.Joe Cross Reboot He did this by drinking only vegetable juice, what he calls a Reboot, while spending 60 days driving across the United States. The movie was a great hit and is still very popular. Joe, 47 years old and a native of Sydney, Australia is back on the road, this time with a book, “The Reboot With Joe Juice Diet”. I recently caught up with him by phone while he was traveling to Albany, NY for an appearance.

Speaking with Joe, you immediately feel his optimism and positive attitude. His Australian accent is infectious, and his story of how he took control of his health is truly inspiring. He plans traveling the world in an effort to lead by example in showing people how they too can change their lives. He is quick to point out he is not a doctor or scientist, but a man who just wants people to see how he was able to improve his health by making some important lifestyle changes. He is spreading the word about how we all have the power to do the same thing.

I began our conversation by telling Joe how most of the books and movies I have read and watched about changing to a healthy lifestyle when it comes to food tend to be preachy and not at all flexible. Many interject a strong political bias as well. His approach is different. He tells me “I think, predominately, that people are pretty smart and crowds are dumb. We tend to do things as a group, but I think trying to reach people as a crowd and then work that down to the individual doesn’t work very well. You already know fruits and vegetables are good for you, but when someone gets up and says you should do this and you should do that, the message gets lost. The preachy side is not the way we educate, not the way we inspire, and certainly not the way we entertain. Make it fun, make it interesting, and make it something that resonates within. Find the answers we all know and then present the questions in interesting, fun, and inspiring ways. Healthier is happier. I have a view that happiness is by default about being useful, but unless you have your health you can’t be fully useful.” He asks rhetorically, “ Who’s unhealthy and happy? Very few people.”

Joe Cross 2In the movie Joe drank only fresh vegetable juices for sixty days and then the viewers assume he was able to stop taking all of his medications. “ No, after the sixty days I continued with a very strict vegan diet for an additional ninety days. At that point I was pill free. I had done some research and found that for 70% of us our health problems are caused by lifestyle choices, the other 30% is from genetics. I wanted to give myself the chance to find out if I was causing my own disease or if I was one of the 30% for whom it is genetic. Was I in the bad luck crowd or the stupid crowd? I got my answer.” Should those who are unfortunate to be in the 30% crowd just give up? “No, they should still make the changes, and they will most likely find they will need less medication and will feel a lot better.”

Is Joe a vegetarian? “No, I can tell you what I don’t eat. I don’t drink soda or alcohol. No caffeine. I don’t eat fast food. I will eat a hamburger but only in if it is good and from a reliable source. I do not push a plant only diet. I talk about plant based. There are three things available for us to eat: plants, processed food, and animal food. If you can make the plants the base, 40 to 50%, and then split the others up at 20 to 30% you will be doing well. I know when I do eat plant-only I feel better, but I am not ready for that now.”

Joe talked about how are bodies are programmed to go into famine mode, a survival mechanism from a time when we would live through feasts and famines. After all, fat is stored energy. “A lot of people wake up in the morning and are not happy with what they see in the mirror, not a good way to start the day. Don’t look at it as a negative, just think about how your body is protecting you and storing up a lot of energy in case a famine is coming. I would advise before doing a Reboot checking the Internet to make sure there is not a food shortage happening in Boston anytime soon. As long as the coast is clear, maybe it’s time to bring on your own nutritional famine.”

There are many who believe government should step in and play a role in what we should be allowed to eat. Joe leads by example and believes “healthy is happy”. “I don’t want to become a nanny state. I am all about market forces, and my role is writing books, making movies, and doing TV shows. I want to educate people, entertain people, and inspire people to make healthier choices that can affect their happiness and existence. People are sick and tired of being sick and tired. The more we demand it the more the tsunami of change will happen.” I mentioned how I am seeing more and more healthier alternatives on menus. “People are voting with their dollars, and when you vote with your dollars in America s..t happens. Those businesses that don’t keep up with the changes will be left by the wayside.”

What’s next for Joe? “The book is number one in Canada and in the top 100 on Amazon. The tour is going global. The movie is now available in 15 languages. I have a new movie coming out in September and am working on a possible program to be aired on PBS. With a base of ten million viewers of my movie, the scientific community is now talking to me. I take their advice and regurgitate it in simpler ways so we can all understand it.’

Joe Cross is leading a revolution that is gaining tremendous momentum. He has boundless energy and the power to motivate and inspire. Watch his movie, read his book, listen to him talk, and you will be inspired to make the changes that will keep you from being Fat, Sick, and Nearly Dead. Check him out at Rebootwithjoe.com

Bobby Franklin can be reached at bob [at] boxingoverbroadway [dot] com

Rest In Peace Jimmy Ellis

Rest In Peace Jimmy Ellis

Former WBA Heavyweight Champ Passes

Another Loss From The Era Of Competitive Boxing

The boxing world was saddened by the recent death of former WBA Heavyweight Champion Jimmy Ellis. Ellis passed after a long battle with dementia pugilistica. For years Jimmy was best known for being Muhammad Ali’s sparring partner, but it is unfair to remember him for that. Jimmy Ellis was a superb boxer puncher who rose through the ranks beginning his professional career as a middleweight.

Jimmy Ellis fought in what was probably the most competitive era in heavyweight boxing.

Ellis and Ali were both from Louisville, Kentucky and began as boxing as amateurs under the tutelage of Officer Joe Martin. They fought twice before turning pro with the young Clay winning their first encounter, and Jimmy taking the decision in the rematch.

Ellis turned pro under the management of Bud Bruner with whom he compiled a record of 15-5 with 6 knockouts. Jimmy’s losses were to Ruben “Hurricane” Carter, George Benton, Henry Hank, Don Fullmer, and Holly Mims, whom he defeated in a rematch. All of these opponents were top rated contenders, and many of the losses were by very close decision.

Jimmy left Bruner and began training with his old friend Ali under the tutelage of Angelo Dundee. He also put on weight moving up to light heavyweight and then heavyweight. Ellis scored a spectacular one round knock out of Jimmy Persol in 1967. This win catapulted him onto the world stage and earned him a berth in the WBA Heavyweight Tournament to find a successor to Ali who had been wrongfully stripped of his title for refusing to be inducted into the Army.

Ellis was considered a long shot to win the title, but he surprised everyone by stopping Leotis Martin, winning a decision over Oscar Bonavena in a fight where he dropped the tough Argentinean twice, and then defeating Jerry Quarry over fifteen rounds to win the title in 1968. Later that year he would successfully defend his crown against Floyd Patterson.

In the meantime, Joe Frazier, who had chosen not to enter the WBA tournament, defeated Buster Mathis in a fight recognized by the New York State Athletic Commission as being for the World Championship. It was just a matter of time before the two would meet to unify the title.

On February 2, 1970 Frazier and Ellis stepped into the ring at Madison Square Garden to decide who the better fighter was. Ellis was coming off a layoff of a year and a half, while Frazier had remained active and was at the peak of his ability. Jimmy put on a valiant effort landing a number of strong right hands on Joe, but Frazier was unstoppable that night. After decking Ellis twice in the fourth round, Angelo Dundee stopped the fight before the bell rang for round five.

Ellis would never again challenge for the title, but he did fight his old friend Muhammad Ali in a twelve round bout in 1971, with Ali stopping him in the final round.

Jimmy Ellis fought in what was probably the most competitive era in heavyweight boxing. There were many exciting bouts at that time with so many of the contestants being evenly matched. Also, the top fighters did not duck each other. When the public clamored for a unification bout between Ellis and Frazier, both men agreed to fight. What a contrast to today when fight fans have been waiting years for Mayweather and Pacquiao. In the 70s just about every top fighter met at some point. Ron Lyle, Jerry Quarry, George Chuvalo, Earnie Shavers, Jimmy Young, and many others were in the mix. Many, if not most of the matches then were highly competitive as the fighters were evenly matched. Before these fights, fans would argue for hours over who would win, and no one could be sure. It was a very exciting time for boxing.

Jimmy Ellis was not a big heavyweight, but his years working his way up from middleweight to heavyweight were a time when he learned his craft.

Jimmy Ellis was not a big heavyweight, but his years working his way up from middleweight to heavyweight were a time when he learned his craft. Even though he had a number of losses, he was learning his trade, and he learned it well. He had a tremendous right hand, which he combined with great footwork and speed. This combination allowed him to defeat much stronger fighters such as George Chuvalo and Oscar Bonavena while also outspeeding Floyd Patterson, and outsmarting slick counter punching Jerry Quarry.

Jimmy’s career came to an end in 1975 after he was poked in the eye during a sparring session. The accident caused him to lose the sight in that eye. His career was now over, but unfortunately, it was too late. The years in the ring both in matches and the thousands of rounds of sparring in the gym had already taken their toll. For a number of years before his death he suffered the effects of dementia pugilistica, an Alzheimer’s type of disease that is the result of repeated blows to the head. Jimmy’s former rivals Jerry Quarry and Floyd Patterson suffered the same fate.

 

For years Jimmy Ellis lived under the shadow of having been Ali’s sparring partner, but make no mistake about it; Jimmy was a world class boxer puncher who fought and beat many of the top contenders of his day, and that was quite a day. Ellis was also a deeply religious man who sang Gospel along with his wife Mary Etta, who passed away in 2006.

Jimmy Ellis was a gentleman who never spoke a bad word about anyone.

Jimmy Ellis was a gentleman who never spoke a bad word about anyone. He never gave less then one hundred percent when he stepped into the ring. He always carried himself with dignity, and was a true Champion in the ring and out. He will be missed. Rest In Peace Champ.

 

Tinker Pincot

Rest In Peace

 

Former light heavy weight contender and long time Ring 4 member Jordan Tinker Picot passed away recently. Tinker was one of the hardest punching fighters to come out of the New England area with a pro record of 17-3-1 with all of his wins coming via knock out. At Ring 4 events Tinker was always one to elicit laughter and he will be missed by all of us.

Rest in Peace Brother.

Ken Fallin

Ken Fallin:

Doodling The Stars From The Broadway Stage

To The World Stage

Ken Fallin
Ken Fallin

You have most likely seen Ken Fallin’s work as it appears with “alarming regularity” in the Wall Street Journal, Playbill Online, The Los Angeles Times, The New Yorker and on the posters for Forbidden Broadway. He also got his start here in Boston doing a weekly drawing for the Sunday Arts section of the Herald back in the 80s. You may not know his name because he prefers to not allow it to intrude into his pieces.

Woody Allen
Woody Allen

Ken has always loved cartoons, and has been drawing, or what he calls doodling, since he was a kid. His dream was to be an actor and he pursued that career for many years, but found he made more money drawing caricatures of his fellow actors on the side. Eventually, he got his big break, not in acting, but when he was asked to do the drawings for the poster for “Forbidden Broadway” in 1983. This led to the job at the Boston Herald, followed by working for Wall Street Journal, where he still contributes work every week. I recently spoke with Ken by phone from his home and studio on the Upper West Side of Manhattan.

The first thing you notice when speaking to Ken is that there is a calmness to his voice. He comes across as a man who loves people and enjoys his work. I ask him about how he calls his work doodling and not his art.

“I try not to take myself too seriously.” Did you doodle when you were a kid?

Aladdin
Aladdin


“I did, I did, but it was something that was just a lot of fun. I loved cartoons. I loved comic strips in the newspapers. I loved watching cartoons on television, and I loved Mad Magazine. Warner Brothers made a lot cartoons with caricatures of their famous players like Humphrey Bogart, and that just blew my mind that they were taking real people and making them into cartoons. That’s how I saw it…it was just the best, because when I would look at people, especially funny looking people, I would think this person looks like a cartoon. That’s where I think I got my love of caricatures.”

 

Max Schmeling
Max Schmeling

Were you taught drawing?“It wasn’t taught. It’s kind of an instinctual thing. You see somebody and the way you see them is your own vision of them, and I don’t think you can teach that. It’s the way you see the person.”Ken has doodled just about every major Broadway performer in the past thirty-five years as well as world leaders including President Obama for the Wall Street Journal. I was curious what it was like to sit with these famous people and sketch them. I was in for a surprise.

 

“I don’t get to meet them. It’s not a glamorous life like a photographer where you actually get to go and see the person. I work from photographs. Photos are sent to me via the Internet. Sometimes I get an assignment at 11:00 A.M. that has to be done by 4:00 P.M., I can work fairly fast.”

Ian McKellen as Richard III
Ian McKellen as Richard III

A lot of the time Ken does not know anything about the person he is drawing,

“I usually try to pull probably a dozen photos, and if something catches my eye I think, I can draw that, I can draw that angle, the eye, or the nose, or whatever; and I try to do that, and sometimes it doesn’t work and I have to switch over to another photo.

 

Commissioner William Bratton
Commissioner William Bratton

Ken has been heavily influenced by the work of Al Hirschfeld. I ask if he had ever met the great artist,

 

“I have. Well, this is funny because years ago I actually got my big break doing a show called “Forbidden Broadway”, and Al used to go to all the opening nights. He went to one in New York and they showed him the program cover that had my drawing on it and said, ‘what do you think of it?, and he thought he had done it. I took that as the ultimate compliment. He was a very nice man. I never got to know him really well. After he died I got to know his wife and I got to go up to his studio. I actually got to sit in his chair. That was

Rocky The Musical
Rocky The Musical

very exciting. Louise Hirschfeld and the people at the Al Hirschfeld Foundation have been very supportive of my work. They can see I am influenced by, but not copying him.”

 

Other artists, photographers, and architects, have influenced Ken including Aubrey Beardsley, Richard Avedon, and Irving Penn. I read a quote from Irving Penn to him. “Sensitive people faced with the prospect of a camera portrait put on a face they think is one they would like to show to the world…very often what lies behind the façade is rare and more wonderful then the subject knows or dares to believe.” I was curious if this would apply to Ken’s art.

Madmen
Madmen

“Usually, when I am drawing, my mind is pretty blank because I need it to be that way in order to create something. It’s probably subconscious with an artist. Anytime you do anything creative you’re not really aware of it at the time, but things come through when you love it, and I really love what I do. I am an old fashioned illustrator. I use a quill pen that I have to keep dipping in ink, and scratching on illustration board. I love the old fashioned stuff, and I’m hoping that comes through, and when people buy my stuff and they tell me they love looking at them that means the world to me.”

Billy Joel
Billy Joel

With his upbeat yet easy going manner, Ken hardly seems to be a suffering artist. I mention that I don’t see him pulling a VanGogh and cutting an ear off. “I sometimes clip a fingernail, but that is as far as I go.”

I find it amazing he is able to draw such meaningful doodles without having met his subjects. It is as if Ken has a sixth sense.

 

“I’ve had relatives of people I’ve drawn tell me you captured something there, and I’m like I did this from a photograph. I guess it was subconscious, but that is such a compliment.”

 

Rocky
Rocky

Ken got his start with the Wall Street Journal in 1994. “I had an agent and she got me my first WSJ job, and they hired me to draw sports figures. I did every sport. I even did the Winter Olympics that year.” I ask if he got to go, “Oh no, it’s all photographs. You’re trying to make my life much too glamorous. I’m not a sports person and I know very little about it, but I would look at photographs and just hope they wouldn’t come out looking like chorus boys or something. And it worked cause they had me doing that for almost four years.”

 

I bring up the subject of drawing political figures without having his own views, either positive or negative, come across.

“I have to be real careful if it’s somebody I know and that I don’t like, and they don’t want my drawings to be editorial. They just want me to show the person. It can be frustrating, but then I think of the paycheck and I push forward.”

Bullets Over Broadway
Bullets Over Broadway

Caricature can be a bit of a minefield particularly when drawing different ethnic groups. Because so many of the early illustrators had a field day making hateful statements with their disgraceful pieces. Ken is comfortable with any subject he doodles.

Chuck Berry
Chuck Berry

“I grew up around a lot of prejudice, but I never understood that, it didn’t make sense to me to be prejudiced. I just didn’t understand why people didn’t like other people. It usually is from ignorance and fear of the unknown. With caricatures, it’s interesting we are talking about this, when I got my first assignments to draw black people my editors would sometimes be very nervous, but I would say, ‘You shouldn’t be nervous’, and this is true, I’ve drawn blacks, I’ve drawn Asians, you know, all types, and I approach all of them the same way, and I think it shows in that. It’s not like I’m trying to make fun of any particular person, it’s just the way I see them without being cruel, I never try to be cruel. I’ve never had a problem.”

Philip Seymour Hoffman, Death of a Salesman
Philip Seymour Hoffman, Death of a Salesman

I ask Ken how old he is, and as he tells me he is 65 he reflects a bit on his very interesting journey.

 

“When I turned 50 my life was actually better. I got started in my late 30s that is when I got my first big break. Things have just gotten better. The really great thing is I don’t think I peaked too young, and I’m not jaded. It’s like things are happening. I’m hearing from all these people I went to high school with and they are so happy to be retiring, and I’m thinking I love what I do, I would never retire unless somebody stopped paying me.”

 

Fallin talks about his time in 1975 at the New School in New York and studying under famed cartoonist Mort Gerberg.

Joel Grey Caberet
Joel Grey Caberet

“I wanted to be a cartoonist for a brief period. Mort knew all these cartoonists at the New Yorker, and every week he would bring one in to talk to us, and we had people like George Booth and Charles Addams, and they were wonderful. And for our assignment every week we had to send a batch of cartoons to the New Yorker, and we had to bring in our rejection slip to show proof that we did it.”

 

Ken had spent a number of years after school as a starving actor as he kept pursuing his dream. What went on during those “lost years” from school until your big break in 1985?

 

“I did everything you can imagine. I’ve had just about every job. I’ve never worked in a hospital, but I’ve done just about everything else. I’ve been a waiter and a cab driver (Ken drove for Red Cab in Brookline, MA). I was drawing and acting, that was my original goal and the reason I came to New York. I got a job in 1979 working in a summer stock company in Connecticut, and I was making more money doing their posters for the shows and doing caricatures for the actors. You know, they’d pay me like five bucks for a drawing of them, and since I was only making like $45.00 a week as an actor, this came in very handy. I still thought of myself as becoming an actor but it got to the point I was making more money doing illustrations, these rinky-dink jobs, but they were coming in. What’s ironic is now a days I have meetings with Broadway producers and directors and writers about my art, but I’m always thinking, gosh, why didn’t I know these people when I wanted to be an actor. But it all worked out, I have no complaints.

Keith Jarrett
Keith Jarrett

“It wasn’t until my late thirties when I got my big break. It got to the point where I didn’t think anything was ever going to happen, and I was very discouraged. But then things just started happening and it was great. I think you just sort of have to be ready. If you believe in your self, and I have to admit there were periods that I didn’t, but if you can just sort of hold on and have somebody else tell you they believe in you that helps too.

 

“I have to throw this in because everyone has a parent story. My father never understood what I did as an illustrator until I started working for the Wall Street Journal, and other people would say ‘look at what Ken’s drawing here.’ And he started taking pride in it, but he could not believe people would pay you to draw. He was a salesman. If I was selling drawings that would be one thing, but he finally got it. Just before he died he told me he was proud of me, and that made it all right, but for years he thought I was a bum.”

 

What else would he like people to know about him?

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“You can say I am very kind to animals. I do dog rescue, that’s my big, big thing. I help rescue dogs out of the shelters here in New York. Our main goal is to get them out of the kill shelters cause we have very bad shelters here in New York. We try to get them either into foster homes or into a shelter that doesn’t kill. I like drawing dogs too. I don’t get to do that much in my pay work. I think they are such characters.”

 

After my conversation with this very warm and talented man I feel it is never too late to pursue your dream. It wasn’t easy for Ken, but he persisted and we are all the better for having him sharing his art with us. I hope you will now feel you know the man behind those wonderful doodles you see in so many publications.

 

Originals and prints of all Ken’s work are for sale including his work for the Wall Street Journal. The day we spoke he had earlier been on the phone with Patrick Stewart who was buying a copy of the wonderful piece Ken did for Playbill of “Waiting For Godot” starring Stewart and Ian McKellan.

 

You can contact Ken through his website at kenfallinartist.com

 

Holman Williams and Marcel Cerdan, The Boston Strong Boy, And Boxing At Boston City Hall Plaza

Williams-Cerdan-RooftopThe photo of Holman Williams and Marcel Cerdan which accompanies this article, having a conversation on a Paris rooftop has always fascinated me. I first saw it in the International Boxing Research Organization Journal, and Dan Cuoco, the director of that fine organization shared it with me. On July 7, 1946 Williams and Cerdan fought each other in Paris with Cerdan winning a decision over the American. Holman Williams was one of a group of boxers that came to be known as The Black Murderers’ Row. Others in this elite crowd were Charley Burley, Cocoa Kid, Eddie Booker, Bert Lytell, Loyd Marshall, Jack Chase, and Aaron “Tiger” Wade. All were great fighters who never got a shot at the title partly because of race, and partly because they were just too good. Author Harry Otty has written a fine book chronicling the careers of these boxers who deserve to be recognized by all boxing fans. His book, “Charley Burley and The Black Murderers Row’’, is a must read for anyone interested in the history of the sport.

In this photo, we see Williams who is at this point on the downside of his career, speaking with Cerdan who would two years later win the Middleweight Title from Tony Zale. I don’t know if this was taken before or after the bout, but it is interesting to see how intently they are listening and speaking to each other. This is not a photo of two wise mouth punks talking trash to each other, but of two professionals, of two gentlemen spending some time together. Are they talking about their fight? About boxing in general and the techniques they use? Perhaps they are having a conversation about the cultural scene in Paris. What I find striking is how relaxed they are with each other. These are two great fighters who would, or have already, put on a very tough fight; yet they are completely at ease in each other’s company. In this photo, both men convey class and dignity. The backdrop of Paris further enhances them. Both are impeccably dressed and could easily pass for a couple of writers or actors. It is a snapshot of a very different and interesting time. Take a moment to study this picture and let your mind wander to just what their conversation was about that July afternoon on a rooftop in Paris.

Strong Boy, The Life and Times of John L. Sullivan
America’s First Sports Hero
By Christopher Klein Published by Lyons Press

John-L-SullivanJohn L. Sullivan was America’s first larger then life sports star, and author Christopher Klein has written a fine account of the Boston Strong Boy. Sullivan, the son of Irish immigrants who had arrived in Boston during the great wave of Irish migration in the mid nineteenth century, was born in Boston’s South End, not Roxbury as many have believed. He made a reputation for himself at an early age with his amazing strength, intimidating stare, and powerful right hand punch.

Klein’s book follows Sullivan’s life in detail and shows just how the Great John L was the right man at the right time to win the adoration of fans nationwide. His fistic talent along with his magnetic personality and booming voice made him an instant celebrity. But, he never would have attained the prominence he did had it not been for the completion of the intercontinental railroad system. This feat of technology, comparable with the internet today, allowed Sullivan to crisscross the country putting on exhibitions and taking on all comers in four round matches. For the first time, Americans were able to see one of their heroes up close, sometimes too close, because Sullivan’s proclivity to drink would make him a very difficult character to control.

I learned much about John L from Klein’s book. Many things I didn’t know, such as the fact that after Gentleman Jim Corbett defeated Sullivan for the crown, the men would later engage in at least two exhibition matches. That Sullivan was a somewhat talented actor who loved performing on the stage, and that he was the first athlete to earn over a million dollars, most of which went to living the high life. The only fault I find in this book is that often times I found myself wanting more details about some of the events, such as the time in Augusta Georgia where Sullivan, who had been drinking heavily grew so verbally abusive that a train hand knocked him out. Surely, this was a big deal, and I would love to have had more details about that incident. I found this book a very interesting read and highly recommend it.

Boxing At City Hall Plaza
June 29th

This Sunday a live boxing show will take place out doors at City Hall Plaza in Boston. It is the Neighborhood Youth challenge and will feature a team of young amateurs from the local gyms going up against a team of boxers from Connemara, Ireland. Outdoor boxing in Boston is a bit of a throwback to the days of the Great John L and should be a lot of fun. I hope to see you there.

Reading The Gods Of War – Shadow Boxing With Golovkin

Review: The Gods Of War

Springs ToledoSprings Toledo is well known in boxing circles as a very good writer who also knows his boxing. Whether writing about Harry Greb or one of the current champions, his style is a throwback to the days when boxing writers knew the craft of writing as well as the sport. You do not have to be a boxing fan nor do you need a knowledge of the Sweet Science to enjoy his work. However, if you do know your boxing history Springs will make you think more deeply about it.

In his book The Gods Of War, Toledo has compiled a collection of his essays in the first section and then takes us on a run through his selection of the ten best fighters of the modern era (fighters who hit their prime after 1920) he calls this select group The Gods of War.

Gods of WarReading the essays in the first section you will hear echoes, not imitations, of A.J. Leibling and Raymond Chandler. Springs is not attempting to set the clock back with his style of writing, but rather he understands that boxing is the perfect subject for interesting and creative writing. I think of the term coined by Gay Talese, creative non-fiction, when reading these pieces as they all have a certain sense of drama to them that deserves to be explored.

I was pleased to see four essays on Sonny Liston, a fighter much too little has been written about. Springs absolutely nails it when he discusses the Ali Liston fight that was called off in Boston. If that fight had taken place history may have been very different. Much of what is revealed here I know to be true.

He talks about Alexis Arguello and the suffering this very decent man lived with all his life, a life that ended tragically and too soon, but one that is not uncommon in boxing. Boxing has a way of focusing our attention on the unfairness and cruelties of life, and Toledo uses his pen to paint a picture of this reality.

In the section entitled The Gods of War, Springs has developed a criteria for rating the greatest fighters. These greatest of all time lists are always controversial and guaranteed to raise the hackles of boxing fans, but in this case the author has used a very interesting and solid system for rating his picks. Will you agree with his choices? Probably not. But that is part of the fun. What will happen is you will be forced to think more deeply about your own picks. This is not just a list, but a series of short pieces that give the reader insight into each of the Gods of War. I feel I am pretty knowledgeable about the sport having spent a lifetime around it, but I learned much by reading these essays. For instance, I had not known about the connection between the Bob Fitzsimmons Shift and Roberto Duran. I would advise not jumping to the end to see the pick for the top spot, but rather read and savor each bio has you work your way to the end. There are surprises, but Springs backs up each of his choices with his terrific writing and deep insight.

There are many books on boxing being published today. Some very good, some that are labors of love that just don’t measure up, and some that would have been better off remaining as trees. The Gods of War is one that deserves to be read by everyone with an interest in boxing, an appreciation of good writing, and those with an a desire to know more about the human condition. I know it will remain in my library for many years to come.

Shadow Boxing With Golovkin

Gennady GolvkinA couple of weeks ago I watched the Gennady Golovkin Daniel Geale bout on television. I saw something before the bout when the cameras were in Golovkin’s dressing room, something you rarely if ever see today, Gennady was shadow boxing. This used to be common practice as fighters warmed up for their bouts, loosening up and getting ready to do battle. Today, they are usually spending their time warming up while robotically playing patty cake on the mitts with a trainer or having batons swung at them. Golovkin actually moves around the room getting loose and is practicing the movements he will be using in the ring. His mind is engaged. He is not just going through drills and repeating the same moves over and over again. He is visualizing his opponent in front of him, imagining what he will be facing in the ring. He is getting his body ready while engaging his mind.

Golovkin is a very good fighter. He showed that when he rolled with a right hand while delivering his own knockout punch in the Geale fight. He has power, is in great shape all the time, and knows how to think in there. He knows how to slip punches and create angles. He has been well taught and is learning his craft. He is also a class act, behaving as a gentleman before and after a bout. There is no cheap talk or language you wouldn’t want you kids to hear. He carries himself well and sets a very good example.

Golovkin GealeI do see problems for him though. I think he can dominate the division, but I doubt we will ever see him reach his full potential. We may even see him regress a bit. This is because he does not have the level of competition to force him to improve. At this stage in his career he should still be forced to learn in each fight he has. He is a very focused and intellectual boxer, but he does not have the peers to pressure him to go beyond where he is now. I saw some signs that he was getting just a bit sloppy in the Geale match. This is not to take anything away from him, it just shows that he is so good he does not have to pay for his mistakes. I doubt his camp is even able to find good sparring for him. In an earlier age they would have had solid journeyman sparring partners for a fighter like Gennady. Guys that would make him work in there, forcing him to hone his skills and continue to learn new moves. I hope he continues to improve so we get to see if he is able to develop into a great fighter, but I fear that instead of improving, he may be brought down by the caliber of fighters he is facing in today’s game. He is very smart. He is very talented. I want him to prove me wrong.

Bobby can be reached at bob2boxer [at] yahoo [dot] com

Master Boxer Speaks! My Interview with Curtis Cokes

By

Mike Silver

Curtis Cokes held the welterweight title from 1966 to 1969. He was born and raised in Dallas,Texas, where he still resides. Curtis was a gifted all-around athlete in high school, excelling in baseball and basketball. He earned all-state honors in both sports and briefly played basketball for the Harlem Stars, a professional touring team.

Curtis Cokes - Boxing over Broadway
Welterweight champion Curtis Cokes.

Curtis first laced on the gloves at a local YMCA and was undefeated in 22 amateur bouts before turning pro in 1958. This was at a time when there were eight weight divisions and eight undisputed champions. (How quaint!) By the mid-1960s Curtis had become a top rated welterweight contender. Like all of his contemporaries he acquired contender status the old fashioned way—he earned it. (Also quaint by today’s standards). During his climb to the title he sharpened his considerable boxing skills against the likes of Stefan Redl, Joe Miceli, Kenny Lane, Manny Alvarez, Jose Stable, Stan Harrington, Stanley “Kitten” Hayward, Billy Collins and in three memorable bouts with the great Luis Rodriguez.

The boxing world first took notice of Curtis Cokes when he upset future welterweight champion Luis Rodriguez in 1961. Rodriguez outpointed Curtis in their rematch four months later. The rubber match took place on July 6, 1966 in New Orleans. The bout was the semi-final of a tournament to determine a new welterweight champion. Curtis stopped Rodriguez in the 15th round, thus becoming the only fighter to stop the great Cuban welterweight in his prime. Less than two months later, in the final bout of the tournament, Curtis outpointed Manny Gonzales to win the crown vacated by Emile Griffith.

Curtis Cokes had an elegant and refined boxing style of a type that is all but extinct today. He was adept at both offense and defense but was primarily a counter-puncher— skills that were admired and appreciated by knowledgeable boxing fans. (Films of several of his fights are available on YouTube). After five successful defenses, including impressive KOs over Charlie Shipes and Willie Ludick, he lost the title to the great Jose Napoles on April 4th 1969. With both eyes nearly swollen shut Cokes’ manager told the referee to stop the fight before the start of the 13th round. The rematch, two months later, ended similarly with Cokes unable to continue beyond the 10th round. Curtis fought for three more years before hanging up his gloves. He compiled a 62-14-4 record, including 30 knockouts. Napoles and Hayward were the only fighters to stop him. In 1972 Curtis gave a credible acting performance in “Fat City”, a boxing movie directed by John Huston.

After he retired from boxing Curtis was involved in various business ventures but he always remained close to the sport he loved. In 1980 he wrote, with co-author Hugh Kayser, The Complete Book of Boxing for Fighters and Fight Fans. I consider it the best boxing instruction book of the past 70 years. The book has reportedly sold more than 77,000 copies. He currently owns and operates Curtis Cokes’ Home of Champions Boxing Gym in Dallas where the emphasis is on serving his community through an amateur boxing program geared to keeping young people off the streets.

Today, at the age of 76, Curtis Cokes is healthy and mentally sharp, with an amazing memory for the details of his career. Fortunately, he exhibits no ill effects from his 80 professional bouts—a testament to his superb defensive skills, physical conditioning and knowing when to hang up his gloves. Aside from being an old school fighter Curtis is also an old school gentleman. He is gracious, engaging and warm. Interviewing this Hall of Fame boxer was a delightful experience.

My thanks to mutual friend Ken Burke for providing contact information for Curtis.

INTERVIEW:

Mike Silver: Champ, the purists loved your smooth delivery and emphasis on basic fundamentals such as the left jab, footwork, counter punching and defense. I count myself lucky to have seen you fight on television. When I told a few older fans (who also saw you fight) that I was going to interview you their first words were, “He was a good boxer”. That is how you are remembered—that and your tremendous victories over the great Luis Rodriguez. How do you go about conveying your storehouse of knowledge to the young students at your gym?

Curtis Cokes: Before we start teaching fundamentals that involve throwing and blocking punches, or how to get away from punches, I get their legs in shape. We work on walking and running forward and backward. Footwork is such an important part of the sport. When I played baseball and basketball I knew I had to get my legs in shape because the legs are what carry the body. I think today’s fighters forget about footwork. I worked every day on my footwork, turning left and right, backing up, going forward. I turned to my left to be outside of my opponent’s right hand, and then I’d swing to my right to be outside of his left jab. Learning how to box is a slow process but you try to learn something every day.

MS: Speaking of footwork, in my book, The Arc of Boxing, I asked the great ballet dancer Edwin Villella, who was a champion amateur boxer before he became a ballet star, to explain the similarities between the two disciplines. You cover the same topic in The Complete Book of Boxing. Quoting from your book: “The balance and rhythm of a dancer are also important, for a boxer must be able to move quickly and change his tempo and direction at will…maneuverability is of extreme importance. An almost ballet type of body coordination gives a fighter a distinct edge.”

CC: The balance of a dancer is tremendous, and like a dancer a boxer has to be able to move and dance while maintaining his balance. You have to be able to have good balance to throw your punches. When I played with the Harlem Stars basketball team I used to watch Goose Tatum, how he would get in position and block people out. It was amazing to see him do that so smoothly. Goose Tatum’s coordination and balance was outstanding.

MS: Aside from footwork, what do you see as the main difference between the boxers of your generation and today’s practitioners?

CC: Today it’s all about hitting and that’s all it is…just go out and hit, hit, hit. They don’t learn the fundamentals of boxing. They don’t get a Ph.D. in boxing—how to block, roll, duck, slip and get away from punches– to hit and not get hit. You have to learn the smart part of boxing, because you want to come out of it the same as you went in. Most guys just fight, fight, fight, but “fighting” isn’t “boxing”. It’s an intelligent sport and you have to be smart to be able to succeed in it. If you just go toe to toe it becomes a toughman contest and the toughman wins. It’s not a science anymore. You don’t have to be smart to box anymore. There is no sport called “fighting”, it’s called professional boxing. A big part of the problem is we don’t have the trainers that we used to have. There are not too many people that know how to train fighters.

MS: Who was your trainer?

CC: I had two trainers: Robert Thomas was my first coach and Robert “Cornbread” Smith was the coach with all the experience. He was back in Joe Louis’s day and he was a good trainer. My manager was Doug Lord. Doug was a good manager and he took care of me. He was not only my manager, he was my friend. I knew the boxing game and Doug, who owned an insurance company, knew about business.

MS: You became welterweight champion in your 53rd professional fight. Two months ago a fighter with only 19 pro fights won a welterweight title belt. The fighter he dethroned had all of 24 pro bouts.

CC: I don’t think there are as many fighters available as in my day. Most become champions before they are ready to be champions. To be a champion you’ve got to have fought some of the best fighters in the world. Even if you lose to some of the great guys it’s not a shame to lose to a great fighter. You can learn from the experience. You have to take it step by step. You go from first grade to the tenth grade and then you graduate. Instead of learning the game they want to fight for a title too early even before they learn to tie their gloves on. You’ve got 10 fights and you’re fighting for a title. Back in the day you had to have at least 30 or 40 fights to get the experience before you challenged for a title. Baseball players don’t go to the major leagues until they prove themselves in the minor leagues, then they go to the major leagues. It’s a step by step process. Just because you can hit a guy and knock him out doesn’t mean you can get up there and fight.

MS: As a young boxer did you have any role models that you wanted to imitate?

CC: I learned from two of the best—Joe Brown and Sugar Ray Robinson. I watched those guys when they were fighting. I tried to copy their style. I tried to copy Ray’s style but I worked with Joe Brown. I trained with him when I was a kid and he was lightweight champion of the world. I went to Houston and sparred with him and he told me that I was going to be a champion. Brown would show me how he would throw punches and miss them on purpose to make a guy move his head in the range of his right hand. And I started doing it—I would purposely miss a jab on the outside so my opponent would move his head to the inside where he was in my right hand range. I was a good right hand puncher. I don’t see anybody doing that today. I saw “Kitten” Hayward do it. So did Luis Rodriguez. Emile Griffith did some of that. Those fighters, they were smarter than these guys today who just go out there and hit.

MS: Did anyone else influence your style of boxing?

CC: I sparred with (former middleweight champion) Carl “Bobo” Olson in Honolulu, Hawaii when I went over there to box one time. (Note: Cokes outpointed Stan Harrington on May 21, 1963 in Honolulu). They all told me I was going to be champion of the world one day and they helped me quite a bit. I got Olson’s jab and I got Joe Brown’s movement and his right hand, and I picked up all this stuff from these guys. You have to learn how to box and you have to learn it well. You go to school to learn your ABC’s and you have to learn boxing the same way.

MS: Were feints part of your repertoire?

CC: Oh yes! One of my favorite feints was a silent right hand. I would feint the jab and throw the right hand. My trainer called it a silent right hand because you didn’t know I was going to throw it. You thought I was going to throw the jab, but I’d feint the jab and throw the right hand. Sometimes I would throw a double right hand.

MS: What about body punches?

CC: When I wanted to get your hands down I’d go to the body. I’d hook to the body and hook to the head, or throw a right hand to the body and a right hand to the head. But I wasn’t a vicious body puncher. I went to the head mostly. I was a counter puncher and I would hit guys when they weren’t ready to be hit. I was always in good shape and I could move and take a fairly good punch.

MS: Did you have a favorite combination?

CC: I had a good right uppercut, left hook, right hand combination. I used it to good effect when I knocked out (Luis) Rodriguez. That was one of my favorite punches.

MS: You spoke of learning the finer points of boxing technique from role models early in your career. Two of today’s best fighters are Floyd Mayweather Jr. and Manny Pacquiao, both of whom fight in your weight class. Would you consider them good role models for young boxers to emulate in terms of their boxing styles?

CC: No, I would not. It would be difficult to learn anything from them. Both are unorthodox boxers with natural styles that work for them. But what works for them would not work for most other boxers. It would be difficult to imitate. They don’t have anything that they can put on paper because they don’t know what they are going to do next. They don’t have a plan. They just go out there and fight and whatever comes to their mind happens automatically. You have to have a plan and you have to have a style. I had a style you could learn from because it was based on solid fundamentals. I threw the one-two-threes, and I threw them correctly. And if you throw punches correctly you will score. And if you do it correctly you will succeed in boxing. Pacquiao and Mayweather are doing something that nobody else can do and you don’t have any trainers today that can show people how to offset what they are doing. There are very few fighters today with the type of skills I would want my kids to watch and imitate. There are some guys I’m impressed with but they are mostly fighting—not boxing. Some of my guys would come to the gym excited after watching a fight on TV and say “did you see that?” I’d say don’t watch that particular fighter. I’d tell them to watch tapes of Ali or Sugar Ray Leonard and see how they use the jab and footwork—certain things that I wanted them to pick up on.

MS: Floyd Mayweather Jr. has done very well with his unorthodox style and extraordinary speed and reflexes. How would he have done if we time travel him back to the 1960s to face the best fighters of your era?

CC: I think he would have done pretty well, but he would have had way more trouble in my day than today because the fighters were much better. They were more knowledgeable. They had a Ph.D. in boxing. These guys today just go in there and fight off the top of their heads. They don’t have a plan and they don’t know what they are doing. They haven’t gone to school.

MS: Could fighters such as Emile Griffith, Luis Rodriguez, Jose Napoles, Carlos Ortiz and Curtis Cokes—all of whom were outstanding orthodox boxers— defeat Mayweather and Pacquaio.

CC: I definitely think that. Today’s champions would have a much harder time to get to a title because they would have to come through fighters of my ability and I think the top guys back in my day learned everything you could learn about boxing.

MS: How would you have fought Floyd? How would you cope with his tremendous speed?

CC: His speed is nothing I hadn’t seen before. You can throw punches and have speed but if there’s nothing there you will hit air. His speed won’t bother me. Luis Rodriguez had tremendous speed and I slowed him down. I would fight Floyd the same way I fought everybody else. I would work with my jab–make him move away from my jab. While worrying about getting away from my jab I would hit with my good right hand and left hook and I’d go home early.

MS: Your first victory over Luis Rodriguez in 1961 was considered quite an upset. At the time he had only one loss in 40 fights.

CC: Rodriguez beat everyone but he had a problem with me. Angelo Dundee (Rodriguez’s manager and trainer) didn’t want the fight. But Luis, to his credit, wanted to fight me. He wanted to fight the best. I don’t blame him. I wanted to fight the best also. In our first fight I outboxed and outmaneuvered him. He was throwing wide punches and I was throwing straight short punches so I got inside of him and beat him to the punch. That first fight in Dallas (August 1961) was easy. I had him down and won a decision. I had a style that bothered him. Angelo tried to change his style to fight me. He wanted him to be more of a puncher with me instead of being a boxer, like he was. But that only made it easier for me to cope with. I was always good at luring guys into my style of boxing, and that’s what good fighters do. You make the guy fight your fight. In our third fight, a month before I won the title, I stopped him in the 15th round. He got hit with a couple of shots and couldn’t come back. Luis had a good chin but I had a good right hand.

MS: You lost the welterweight title to the great Jose Napoles in 1969 and failed to regain the title two months later. What happened in those fights?

CC: Napoles was on his way up and I was on my way out. It was time for me to sit down because I’d been there for a while. In the second fight I broke his ribs. I went to his body real good but it was time for me to go. I’d had my day. I took a few fights I should not have taken. It was time for me to retire. In both of our fights his punches caused my eyes to become very swollen. I couldn’t see. (Cokes’ corner would not let him come out for the 13th round of their first fight). He damaged my right eye real bad.

MS: What would have happened if you had fought Napoles in your prime?

CC: If I fought Jose in my prime we would both have to retire after that fight (laughs).

MS: Luis Rodriguez and Jose Napoles were two of the greatest welterweight champions to ever wear the crown. You fought both of them. Who would have won had they met in their primes?

CC: I really don’t know. That would have been a good fight. Rodriguez didn’t hit as hard as Napoles, but he threw more punches.

MS: The other big superstar of today’s boxing scene is Manny Pacquiao. Would his unorthodox style have given you problems?

CC: He probably would, but if he ran into my good right hand then he would straighten up too. You know, the shortest distance between two points is a straight line and that’s what I would do. I’d throw straight punches and he’d run into my good right hand and my jab. It would be a good fight because I’m not a wild swinger like he is. I throw punches straight and it would probably take me some time to hit him on the chin but when I did we could go home.

MS: Boxing has changed in many ways from the time when you were champion of the world. For example, many fighters have incorporated weightlifting into their training routines. What do you think of that trend?

CC: I used little hand weights of not more than two pounds. I would shadow box with them. I never used the big weights to make muscles. Just two pound weights. I would walk around the house with them. Big muscles slow you down. You don’t want your muscles to be tight and pumped up because you can’t use your arms if they’re pumped like that. Weightlifting is not for boxing. It’s for football players who need the muscles to tackle an opposing player or throw him down. You have to have smooth muscles like a basketball player if you are to throw your punches correctly. The heavy bag is an important tool for creating punching power, not lifting heavy weights.

MS: Speaking of strong punchers let’s discuss two of the best—Tommy Hearns and Roberto Duran.

CC: Tommy Hearns was a good puncher but he didn’t have a real good chin. He needed to work on his defense more than he needed to work on his offense. He was easy to hit. I would have hit him. Duran had to come to you in order to score. He couldn’t stand on the outside and outbox anybody. I’m boxing. I could have beaten both Ray Leonard and Roberto Duran at welterweight.

MS: Let’s discuss some of your other opponents. Before you entered your prime fighting years you lost to Stanley “Kitten” Hayward and Jose Stable. Both fights were televised nationally.

CC: They said Kitten was a welterweight but when I fought him he looked more like a middleweight or small light heavy. He was the strongest boxer I ever fought. I could hit him all day long but he was so big and strong. He caught me with a good shot and had me down three times before they stopped the fight. But I had him down also. Jose Stable was a very good bob and weave pressure fighter. It was my first time fighting on national TV. I started strong but just didn’t fight enough during the last few rounds. Even so, it was a very close decision.

MS: The Hayward fight was a real barn burner and can be seen on YouTube. He does indeed look much bigger than you. In fact Don Dunphy, who was announcing the fight at ringside, comments about the disparity in size. The fight took place in Hayward’s home town of Philadelphia. Do you think there was some funny business with the scale?

CC: Well, it could have been. We were not allowed to weigh in at the same time. I complained about that because he got on the scale and was gone when I arrived. We never did get the chance to watch him get on the scale. I know good and well he was no 147 pounds. But I’m not using that as an excuse. It had nothing to do with him winning the fight because I had beaten big guys like that. He just caught me with a good shot that got me out of there.

MS: You knocked Hayward down with three solid punches just before the bell ended the second round. If you had caught him with those punches a minute earlier do you think the result might been different.

CC: It’s possible. I don’t know if he could have gotten up and recovered in time.

MS: What do you think of the current rule that has fighters weigh-in a day before the fight?

CC: I think it’s better to have a weigh-in on the day of the fight because you’d know for sure you have a 147 pounder against a 147 pounder. If you weigh-in the day before the fight you know you’re not going to get in that ring at 147—probably more like 157.

MS: In 1972 you had a significant role in “Fat City” a major Hollywood movie about boxing. How did that come about?

CC: John Huston, the director, knew about me as a boxer and asked me to audition for the part. It was hard work. You had to remember your lines. If somebody else remembered their lines and did it well and you missed yours they had to reshoot and the actors would get mad. I didn’t have to threaten any of them but they knew not to mess with me because I would shadow box while waiting for the next scene (laughs). It was a nice experience and I had a good time with Stacey Keach, Susan Tyrrell and Jeff Bridges. Those guys helped me quite a bit with my lines. They were tremendous with helping me. I got called for another part but I was in Paris with one of my fighters so I missed it. They wanted me to go to acting school but I was so busy doing my boxing thing with my guys.

MS: Do you have any regrets about your boxing career?

CC: Not at all. I did well in boxing. I started out wanting to be world champion and I accomplished that. I’m in the Hall of Fame. I retired from boxing because it was time for me to go. Nobody took advantage of me. Before I became a pro I attended college for two years. I had a good education. I knew how to take care of myself. I knew how to count my money too. I didn’t need a manager to count my money to me. I counted out my money to him.

Leonard Nimoy: The Vulcan With A Cauliflower Ear

Leonard Nimoy, who was born and raised in Boston’s West End, passed away recently. While Mr. Nimoy was never a boxer, and is best known for his role as Mr. Spock in the Star Trek TV series and movies, boxing did have a part in shaping his acting career.

I was never a big fan of Star Trek, but I have always found Leonard Nimoy to be a very fascinating man outside of the role he is famous for. He led a very interesting life and was active in many different art forms. Not only was he a TV and movie star, he also spent time on stage, was an accomplished photographer, poet, narrator, and even released a record album.

I recently viewed a 2014 documentary, “Leonard Nimoy’s Boston”, his son Adam made about him. Mr. Nimoy and Adam spend time reminiscing and walking through the areas of Boston where Leonard grew up. The stories are wonderful to listen to, (tales of selling newspapers, working for a vacuum cleaner dealer, and selling greeting cards), and it brings us back to a very different Boston then the one we know now, before urban renewal destroyed a vibrant neighborhood and displaced many poor but happy families.

The old West End was a lively neighborhood where many immigrants first settled when they came to this country. Leonard’s parents arrived here from Ukraine and were Jewish. There were many Jews in the area and also a huge population of Italians plus many other ethnic groups. The West End was a beautiful representation of the American Melting Pot.

The Nimoys lived at 87 Chambers Street, which has since been covered over by the Charles River Park luxury apartments. Three doors down from their building was a synagogue where the Nimoys would worship. The only remaining Jewish House of Worship from that period is the Vilna Shul on Phillips Street . A number of years ago Leonard Nimoy narrated a documentary about the Vilna Shul in an effort to raise money to restore and preserve it. Towards the end of the film the camera zooms in briefly on a golden pair of hands that appear to be giving the Vulcan sign of greeting. Mr. Nimoy in interviews has said that it was his memories of seeing this ancient symbol while worshipping that gave him idea for it in the Star Trek series. He remembered seeing worshipers using it while he was at the synagogue and thought it was a beautiful gesture, and seeing that Earthlings of all backgrounds make some gesture towards each other when first meeting, be it a handshake, bow, salute, or something else, he thought it would be fitting for Vulcans to have such a thing. I believe it was in a Boston synagogue that the young “Spock” first saw this, so I think Boston can take some credit for what has become a gesture of peace known throughout the galaxies.

Leonard got his first taste of acting at the Elizabeth Peabody Community Settlement House at 357 Charles St. While there he was spotted by a priest who was so impressed with his talent that he offered to fund 50% of a scholarship for him to attend a summer acting program at Boston College, and offer the young Nimoy jumped at. It would take years before he found success in the world of acting. While working to get by he tells the story of the time he was driving a cab in California when a young Jack Kennedy hailed him. They had a wonderful conversation in which they compared the commonalities in politics and acting. Kennedy told him that while there were many competing for leading rPosteroles in both professions, “There was always room for one more good one.”

So, where does boxing fit into all of this? Well, it turns out the first major film role Mr. Nimoy had was as a boxer in the movie “Kid Monk Baroni”. I watched the movie recently and it is pretty good. The future Mr. Spock plays the lead role of Monk Baroni, an angry young man with a disfigured face who finds an outlet for his anger in the boxing ring. It is appropriate that a priest leads him in this direction as that mirrors his journey to acting in his own life. The movie follows the usual boxing movie formula with the leading man finding success in the ring and love outside of it only to squander both but to be led back to a good and meaningful life by his friends who never lose faith in him. Jack Larson, who portrayed Jimmy Olsen in the Superman TV series, plays Monk’s best friend Angelo. LarsonBruce Cabot is Monk’s manager Mr. Hellman. Cabot is best remembered for his role in the original King Kong with Fay Wray. The entire movie was filmed in nine days and Mr. Nimoy was paid less then a thousand dollars for the part. It did receive decent reviews and was shown at the Bowdoin Square Movie House where the marquee proudly proclaimed “The West End’s Own Leonard Nimoy Starring in Kid Monk Baroni”.

MrKid Monk B. Nimoy has said that the role did not lead to fame and fortune, it would be many more years before that happened, but it did something very important for him. He said it gave him the confidence that he could do the work. This confidence would serve to motivate him to keep sticking with it until he finally made it. He had the determination of a championship boxer. Oh, and he also showed some good footwork and hand movement in the movie. I have not been able to find out if he ever actually spent any time in the ring outside of the movie, but he certainly showed ability in the scenes I saw.

Kid MonkIn 2012 Mr. Nimoy was given an honorary degree by Boston University. In his speech he said to the graduates, “You are the creators and curators of your own life and work. Give us your best. We crave it, we hunger for it.” Leonard Nimoy always gave us his best and we are all the better for it.

Mona Golabek

Mona Golabek Is Magnificent in
The Pianist Of Willesden Lane
At The Hartford Stage Through April 26

I love theatre and have seen many great performances. I have seen many not so great works too, and some down right awful stuff, but I enjoy almost anything performed live on a stage. It also gives me pleasure to tell others about my experiences in the theatre, and by doing so, to inspire people who may not have had an interest in theatre to go and see what they are missing.

Lisa JuraI have just returned from Hartford where I have seen one of those very special performances, one that I wanted to never end. “The Pianist of Willesden Lane” is the true story of Lisa Jura, a 14 year old Jewish girl living with her family in Vienna during the beginning of the Nazi occupation in 1938. Lisa is played by her real life daughter Mona Golabek in this one actor production. Ms Golabek is an internationally celebrated concert pianist who co wrote a book about her mother’s life entitled “The Children of Willesden Lane”. Hershey Felder, remembered here in Boston for his superb performance in “George Gershwin Alone”, which he also wrote, adapted the book for the stage and asked Mona Golabek to play her mother. Though not a trained actress, she takes command of the stage in this incredibly moving story in which she includes playing pieces on the piano while she, in the role of her mother, tells the story of her journey from Vienna to London.

Lisa’s, who’s passion was the piano, and who dreamed of one day playing in recital The Piano Concerto in A Minor by Grieg, has her first experience of how her life was about to change when her piano teacher tells her he will no longer be able to give her lessons as it is now forbidden to teach Jews. Her father is no longer able to continue in his profession as a tailor and turns to gambling to support the family. On one terrible night, Krisatllnacht, he returns home bloody and beaten, but holding on to his winnings from a poker game. It is a single ticket for the Kindertransport, a program set up for Jewish children to be able to leave Austria and go to London. The Jura’s have three daughters, but Lisa is the one chosen to go. At the train station her mother tells her, “Lisa, Hold on to your music, it will be your best friend for life, and I will always love you.” With those words she is off on her journey all alone.

The Pianist of Willesden LaneMona Golabek plays not only her mother but many other major and minor characters in this performance. She tells of living with dozens of other Kindertransport children at a home in Willesden Lane in London. Of the friendships she makes, of the people who inspired and helped her, of the bombings, the destruction and rebuilding of the home, and how she had to continue her lessons without a teacher. She beautifully relates working as a seamstress by comparing it with music, “Each stitch was like another note of music…ending in a beautiful tapestry.” She does this while moving her hands along the piano keyboard to mimic the sewing machine, simply wonderful.

We are told of her playing the piano for the soldiers the night before D Day, and the French Resistance Officer she meets who would later become her husband. So much of this is sad, but it is also very uplifting to see how Lisa and all those with whom she is now sharing her life are able to survive and, more importantly, thrive amid the madness of war.

Ms Golabek is beyond outstanding in this performance. Every word, every note, comes from her heart. She is wonderful at the piano, and her acting skills are amazing as she moves among the many different characters and voices, but what is truly magnificent is how she tells her mother’s story, and how we are brought into her life. There was no one in the audience who wasn’t deeply moved by the story of Lisa Jura, and I am thankful to Mona Golabek for sharing her family and friends with us.

Lisa Tells Her StoryAs her performance comes to an end she takes time to tell the audience her story is dedicated “To every parent who had the courage to save their children by saying goodbye.”

I strongly recommend you see The Pianist of Willesden Lane. I could watch it over and over. For those of you who have never been to the theatre, this is as good an introduction as you will ever have. For those of you who do go, you will not be disappointed.

Mona Golabek In
The Pianist of Willesden Lane
Adapted and Directed by Hershey Felder
At The Hartford Stage Through April 26
www.hartfordstage.org
860.527.5151

Ali vs Folley: Another Phantom Punch?

March 22, 1967 would turn out to be the date of Muhammad Ali’s last bout for three years. He had been classified as 1A by the draft board and ordered to show up for induction in the coming months. Before the bout Ali spoke about this possibly being the last time for the public to see him in the ring “Live and in living color”. The bout was held in Madison Square Garden and his opponent was the veteran contender Zora Folley from Chandler, Arizona. The fight was televised on home TV, so it was guaranteed to be seen by a large audience.

As a young boy I remember watching the fight, and what stands out in my memory from that night was the fact that, even at such a young age, I thought there was something odd about the fight. I didn’t know what, but it just seemed that things weren’t quite right.

Looking at a recording of this fight now I still feel that way, though now I know why I felt that way. There were a number of things that went on before, after, and during this fight that were not typical of a Muhammad Ali fight.

Folley jabs bodyFor one thing, this was one of the only black opponents whom Ali faced where he didn’t demean him and come up with some disgraceful name for him. He called Ernie Terrell an Uncle Tom, Floyd Patterson a rabbit, and Liston was the ugly bear. In the future he would use the term gorilla and to describe Joe Frazier and also call him an Uncle Tom. Ali showed no restraint in using racist language to insult his black opponents.

With Zora Folley he took a very different tone. He was subdued and spoke respectfully of his challenger. He brought up how Folley was a good family man with many children. He spoke of the respect he had for him. This was a very different Ali. Even after the fight he continued to praise him and even reached out to one of Zora’s sons telling him to be proud of his father.

If Ali’s behavior seemed odd, things were also a bit strange in the Folley Camp. Historian Mike Silver visited the gym where Folley was training and describes the atmosphere there as being filled with “…an air of depression.” Even though Zora was past his prime and getting his first shot at the title late in his career, he should have been embracing this moment. Finally, his dream of fighting for the championship had come true. Silver mentions others who didn’t get a chance until very late in their careers; fighters like Jersey Joe Walcott and Archie Moore, both of whom went all out once their long overdo opportunities finally arrived. There was none of this excitement in the Folley camp.

On the night of the bout Folley entered the ring quite a while earlier then Ali. He just remained seated on his stool while former champs and current contenders were introduced to the crowd (a great tradition that is now lost).When Ali made his entrance, Folley finally got up and loosened up a bit, but not much, odd behavior for a slick boxer who would normally want to break a sweat and be loose before the opening bell. Zora looked more like he would rather be someplace else then in the ring. It wasn’t a look of fear, but rather one of resignment. This was also strange behavior coming from a veteran of over 80 fights who had been in with most of the top contenders of his day including Sonny Liston whom he showed no lack of confidence with.

The fight itself looked almost surreal. Ali danced and circled for the first three rounds while Folley jabbed to the body and threw a few right hand counters that grazed Ali’s chin. There was a definite lack of urgency to Zora’s moves, but I suppose that can be attributed to patience as he was a methodical boxer, though I think it was something else. Those three rounds could be given to Folley but more because of the lack of any aggression on the part of Ali.

The fourth round was interesting. Ali hit Folley with an overhand right that did not seem to carry much power, and Zora went down flat on his face. He appeared to be out cold, and usually when a fighter is stretched out like that he is unconscious, but miraculously, at the count of four Zora suddenly came to life. He did a push up and got onto one knee. From that position he carefully listened to the referee count to nine before getting up. He was clear as a bell. I have never seen anything like this since. This seemed more like something from pro wrestling then boxing. Was Folley thinking of taking the full count and then had second thoughts? That’s what I believe.

Once he regained his feet he went right after Ali landing a good right that he did not follow up on. It was the only time in the bout where looked like he wanted to really win, but it was short lived.

The next couple of rounds were fairly slow though Ali did pick up the pace and won them. Between the sixth and seventh rounds, Ali’s manager Herbert Muhammad climbed up to the champion’s corner and whispered something in his ear. Afterwards, Ali would say that Herbert told him to stop playing around and get to work.

Folley's PushupIn the seventh round Ali came out and hit Zora with two overhand rights that were carbon copies of what he threw in the fourth. Again, Zora went down on his face, and again he came back to life, only this time instead of taking a knee he stumbled around the ring while the referee counted him out. He left the ring quickly after the announcer gave the official time of the ending of the fight.

In a New York Times wire story filed after the fight, Robert Lipsyte described the punch that floored Folley as a “phantom chop” and compared it with the punch that dropped Liston in Lewiston, Maine. Ali himself briefly described it as the Anchor Punch, the term he had used for the blow he hit Liston with. He quickly backtracked on that statement.

After watching this fight a number of times, I believe Zora Folley took a dive. Why would he do that? Well, it is pretty well known that most of Ali’s opponents received death threats before facing him. I think this happened to Folley and that it really had an effect on him. I think the Zora Foley who stepped into the ring that night was in fear of his life. Not because he was facing the fists of Ali, but because of what went on leading up to the fight. Of course, we’ll never know for sure.

“Fights of the Century”—Then…And Now.

By

Mike Silver

The recent Floyd Mayweather Jr. vs. Manny Pacquiao superfight was only the fifth boxing match in 109 years to be billed as “The Fight of the Century”. The previous century had seen four such matches, with the great boxing promoter George L. “Tex” Rickard responsible for three of them. Tex invented the phrase in 1906 to publicize the Joe Gans vs. “Battling” Nelson lightweight title fight. He made good use of it twice more over the next 15 years for the Jack Johnson vs. James J. Jeffries and Jack Dempsey vs. Georges Carpentier heavyweight title fights. Of course logic would dictate that there could be only one “Fight of the Century” but whoever said the business of boxing was logical? The last fight prior to Pacquiao and Mayweather to be labelled a “Fight of the Century” was the Joe Frazier vs. Muhammad Ali heavyweight championship in 1971.

Joe Gans - Boxing over Broadway
“The Old Master” Joe Gans, circa 1906

Of the five contests mentioned above only 2 managed to actually live up to the tremendous pre-fight build up. Despite the huge social and political ramifications of the 1910 heavyweight championship bout between Johnson and Jeffries the actual fight was a dud. Johnson, still in his prime, easily dominated the previously undefeated former champion (who was making an ill-advised comeback after a five year layoff) before stopping him in the 15th round.

The Dempsey vs. Carpentier extravaganza of 1921 was also hugely significant but for different reasons. Over 90,000 fans—the largest crowd to ever attend a sporting event—watched Dempsey flatten the overmatched Frenchman in less than four rounds. Dempsey vs. Carpentier will never make anyone’s all-time list of great fights but its importance to the economic and cultural side of boxing was monumental. For the first time in history a sporting event had drawn over one million dollars in paid admissions. It was also the first time a championship match was broadcast over the radio. The fight jump started the Golden Age of sports in America and transformed professional boxing into popular entertainment for a mass audience.

            As anyone who saw it will attest, the first Ali vs. Frazier fight more than lived up to its pre-fight hype. Like Johnson vs. Jeffries 61 years earlier the event was intertwined with the social and political issues of the times. But unlike that fight it was an intense and exciting struggle between two undefeated heavyweight champions that brought out the best in each man. The combined worldwide audience (live and at theatres showing the fight on closed circuit television in America or telecast for free via satellite throughout the rest of the world) was estimated at over one billion people, in other words about half the planet. Madison Square Garden, the venue for the fight, priced ringside tickets at $150 dollars. The cheapest balcony seat was only $20 dollars. (The wildly inflated ticket prices in Las Vegas for Pacquiao vs. Mayweather ranged from $1500 to $10,000).

So which “Fight of the Century” deserves top honors? I think a very strong case can be made for the 1906 duel between Gans and Nelson, arguably one of the most incredible and disturbing boxing matches ever staged. The battle between “The Old Master” and “The Durable Dane” for the lightweight championship of the world was a fight for the ages. It took place in Goldfield, Nevada, a mining boomtown located halfway between Reno and Las Vegas. The town’s financial bigwigs, flush with money, decided that some kind of spectacular public attraction would draw further attention and generate additional infusions of cash into Goldfield’s mining stock. (Much of what they sold turned out to be worthless mining properties, but that’s another story). A committee of distinguished citizens was formed to come up with proposals. One suggestion was that a giant hole be dug along the main street and filled with free beer. Another idea was to stage a camel race. Enter Tex Rickard, cattle rancher, gambling hall impresario and promoter extraordinaire. Rickard had already made and lost several fortunes. Sensing an opportunity, he proposed an all-star boxing match between two of the world’s best boxers– lightweight champion Joe Gans and his number one challenger “Battling” Nelson. The idea was immediately accepted.

Joe Gans, the first African American boxing champion, won the lightweight championship in 1902. Dubbed “The Old Master” because of his extraordinary skill, he had already cleaned out the lightweight division and was forced to take on welterweights and middleweights to keep active. The only serious challenger to his title was a boxing brute named Oscar Mathew “Battling” Nelson of Chicago, by way of Denmark. Nelson’s other nickname was “The Durable Dane”. He was the type of fighter who thrived on fights beyond 15 rounds. Nelson was a rough customer with a reputation as a dirty fighter. He seemed impervious to punishment and his stamina and relentless style was legendary. His trademark punch was a short left hook aimed at the liver, with thumb and forefinger extended to provide greater penetration. Nelson claimed the “White lightweight championship” and was confident he could defeat Gans in a “fight to the finish”—meaning a fight with no time limit. Such a fight could not end in a decision but would continue indefinitely until one of the contestants was either knocked out, quit or was disqualified.

Fights to the finish, a staple of the bare-knuckle era, were not uncommon in early turn of the century gloved fights, especially in the western states. A bout limited to 15 or 20 three minute rounds would favor Gans. A fight to the finish against iron man Nelson was another matter. Gans, in need of cash, and having run out of challengers who would agree to fight him, consented to a finish fight. He was confident he could knock out Nelson.

Nelson’s almost super human ability to absorb punishment and his endless reserves of stamina was fascinating to some people. Among the curious was Columbia University’s rowing coach Dr. Walter B. Peet. He examined the “Durable Dane” for his endurance and found Nelson’s heart beat to be only 47 beats per minute compared to 72 for the average person. As the good doctor explained it, such a low heartbeat was only found in the “colder blooded animals which survived the days of antiquity and the cold of the Ice Age.” Further consultation with surgeons and the curator of the American Museum of Natural History concluded that measurements of Nelson’s head revealed “the thickest skull bones of any human being since Neanderthal man.” It seemed obvious that “Battling” Nelson would have the advantage in a fight to the finish.

Nelson threatened to pull out of the fight several times unless he received the lion’s share of the purse. Gans, in desperate need of a decent payday, agreed to accept a $10,000 guarantee while Nelson, the challenger, was to receive $20,000. The fight was scheduled for Labor Day, September 3, 1906. (Ever the showman, Rickard displayed the entire $30,000 purse in twenty-dollar gold pieces in full view through a window of a bank in Goldfield).

Aware of Gans’ precarious financial condition and how much he wanted the fight Nelson’s manager made the unprecedented demand that he weigh in three times on the day of the fight (at noon, 1:30 and 3 p.m.) while wearing his trunks, gloves and shoes. It was a blatant attempt to weaken the champion. Gans would have to weigh no more than 133 pounds or else forfeit $5000 of his purse. The great fighter, confident of victory, agreed to all of the demands.

On the day of the fight Gans was quoted in his hometown paper, The Baltimore Sun: “I have given in on every point just to secure this match. I am betting everything I can get my hands on, and I have got to win. I will have the Dane chopped to pieces and asleep inside of 15 rounds”. Nelson told the same paper, “I am going to give Gans an awful beating, and I think he will be begging for mercy long before the twentieth round is reached. I will let Gans wear himself out, and then I’ll come through and get him. Watch me. There will be crepe in Coontown on Labor Day while the Danish descendants are celebrating.”

A week before the fight all hotel rooms were sold out. Late arrivals slept on the ground. Many of the 200 Pullman cars that had been chartered to transport fight fans served as hotel rooms.

The 24 year old Nelson had 70 pro fights under his belt. Gans, eight years older, was a veteran of 187 fights. Both weighed in at 132 ¼ pounds. Gans was favored at odds of 10 to 7.

They entered the ring shortly after 3 p.m. Some 8000 fans filled the wooden arena built especially for the fight. Gate receipts of $76,000 set a new world record for title fights. Among the ringside spectators were a U.S. senator, various mining tycoons, stars of the Vaudeville stage and the son of President Theodore Roosevelt. Before the fight began several telegrams sent by prominent individuals were read to the crowd, including one from Joe’s mother imploring her son to “bring home the bacon”, words that have since entered the American lexicon.

In one last attempt to further undermine Gans’s chances Nelson’s manager, Billy Nolan, argued that Gans should have weighed in wearing bandages on his fists. Gans responded that he would fight without taping his hands. It was a decision he would regret after breaking his right hand on Nelson’s head in the 32nd round.

For security purposes Rickard had arranged for 300 deputy sheriffs, their open vests displaying holstered pistols, to maintain order. To forestall any shenanigans by his crooked manager Gans announced to the crowd that he had instructed referee George Siler to ignore any attempt by his corner to throw in the towel no matter his condition. Nelson told the referee to do the same for him. By mutual agreement only the referee would have the authority to stop the fight. The crowd, evenly divided in their sentiments, cheered both fighters.

As expected Gans dominated the early rounds by easily outboxing Nelson. His accurate and powerful punches drew blood from Nelson’s nose, mouth and ears. Despite the punishment Nelson kept coming forward. Gans was the division’s hardest puncher but no matter how many times he landed Nelson rarely broke ground. The crazed Dane kept boring in, attempting to place his head against Gans’ chest and deliver body blows at close range. More often than not, utilizing his superb footwork, jab and counterpunching skills, Gans was able to keep most of the action at long range, even managing to knock down his rock jawed challenger twice for short counts. In desperation Nelson began butting Gans. Gans protested to the referee. Warnings were issued but no action was taken.

The pace of the fight was relentless. During the minute rest between rounds each man’s seconds waved huge towels in an attempt to offer their fighter some relief from the sweltering desert heat. Finally, in the 10th round, Nelson bloodied Gans’s mouth with a series of punches. After 15 rounds of fighting Gans had lost, at most, two rounds. The pace finally began to slow after the 20th round. There was more wrestling and clinching as the fighters sought to grab a few moments respite before beginning another assault.

By the 30th round both gladiators were showing signs of exhaustion. They had fought under the broiling Nevada sun the equivalent of two grueling 15 round title bouts. Nelson, although bleeding profusely and with his left eye closed, was still the aggressor and was now landing more often. At one point, after missing a swing, he fell through the ropes whereupon Gans, a consummate sportsman, reached down to help him back into the ring. Nelson responded by kicking him in the shins.

As the bout passed the two hour mark there was an increase in stalling and wrestling. Even the fans were showing signs of exhaustion. At the bell signaling the start of the 40th round the crowd was in awe of the fact that both warriors were still standing.

As described in Joe Gans: A Biography of the First African American World Boxing Champion, authors Colleen Aycock and Mark Scott attempt to understand the mental state of the fighters as the bell rang for the 41st round: “It is quite possible that both Gans and Nelson are in a state of clinical delirium at this point, but their bodies are trained to fight on with or without their minds. Dehydrated, battered and bloody, the gladiators may or may not really know where they are.

“Nelson totters like a bull the picador has struck with forty lances. Gans the matador has been gored, fouled, and kicked, but is still waiting to deliver the coup de grace, a blow that will come at the beginning of the 42nd round that almost decapitates Nelson.” And so it finally ends. The iron man is at the end of his tether and on the verge of finally taking the count. Suddenly he strikes Gans with a low blow. Was the punch deliberate? Very likely Nelson sought to foul out instead of suffering the humiliation of a knockout defeat. Gans sank to the floor and was unable to continue. Intentional or not the foul blow was obvious to everyone in the arena and the referee had no choice but to disqualify Nelson and award the bout to Gans. No one objected to the disqualification.

Gans was carried out of the ring but not before announcing to the crowd that he would meet Nelson again in two weeks to prove he could win without being fouled. A cascade of boos and derision descended upon Nelson. He quickly retreated to his dressing room.

The much anticipated rematch would not take place for another two years. It would not carry the label of “Fight of the Century”. By that time Gans, his resistance compromised by his struggle to make weight for their first marathon fight, had contracted tuberculosis. Gans fought the last two years of his career while slowly dying. The man acknowledged to be one of the ten greatest boxers of all time (some say the greatest) passed away in 1910 at the age of 35. His record showed only 12 losses in 196 fights, including 100 wins by knockout.

Battling Nelson, surely one of the toughest and dirtiest fighters who ever lived, would go on to win the lightweight title and defeat the disease ravaged Gans in two subsequent bouts. But he paid an awful price for his shock absorbing style of fighting. The Durable Dane eventually lost his mind and ended his last days in an insane asylum while still training for a comeback.

Kiss Me Kate

The Hartford Stage Brushes Up “Kiss Me Kate”
With A Beautiful Production That
Is Pleasing to the Eyes, Ears, and Heart

I last saw a production of the Cole Porter musical “Kiss Me Kate” in 2009 in Boston, and I was very disappointed. I left the theatre thinking that perhaps this wonderful play was too dated to go over today. Well, I was greatly mistaken. In the hands of Artistic Director Darko Tresnjak along with choreographer Peggy Hickey, Kate is alive and well and living on a stage in Hartford.

This is the first musical I have seen at THS and I was impressed. With a sixteen-piece orchestra, yes, a real orchestra led by Kris Kukul, amazing sets and costumes, and a fantastic cast, this production of Porter’s take on The Taming of the Shrew will have you humming Wunderbar as you leave the theatre.

Mike McGowan and Anastasia Barzee
Mike McGowan and Anastasia Barzee

Set in a theatre in Baltimore in the late 1940s, the play revolves around an acting company that is staging Shakespeare’s “Taming of the Shrew”. The actor’s personal problems, which include love, gambling, keeping the production financially solvent, and dealing with the leading actors being a divorced couple who still carry a torch for each other, though they try very hard to hide it, all spill over to their performances of the Bard’s work.

The back stage scenes are very realistic with a multi level rehearsal space and dressing rooms. The center of the stage revolves so we can see the entrances to actor’s quarters as well as the interiors..

Anastasia Barzee and Neptune
Anastasia Barzee and Neptune

As beautiful as these back stage settings are, your eyes are in for an amazing treat when the scenes turn to the staging of “The Taming of the Shrew”. The colors are vivid and absolutely beautiful. The costumes gorgeously detailed. Watching this performance I felt as if I had tuned in to high definition theatre. I don’t think I have ever seen as beautiful a setting in all my years of going to theatre. With the multi level sections now being used as buildings where the actors open doors and pop their heads out, particularly Kate who uses her perch from above to pelt suitors: Just the thing for the woman who proclaims “I Hate Men”.

“While my eyes were drinking in this beauty, my ears were filled with the pleasure of hearing the wonderful songs of Cole Porter”

While my eyes were drinking in this beauty, my ears were filled with the pleasure of hearing the wonderful songs of Cole Porter being performed by singers who knew how to put them over, with choreography that matched perfectly. Of course, it is hard to miss with songs such as “Too Darn Hot”, “Another Op’nin, Another Show”, “So In Love”, and “Brush Up Your Shakespeare”, but this isn’t just a bunch of very good singers belting out a few songs. No, this is a group of actors doing justice to this marvelous play.

Even the statue of Neptune that takes center stage for a good portion of the play gets in on the act in the number, “Tom, Dick, and Harry”. I won’t go into detail, but what would a Shakespeare inspired play be without a touch of the bawdy.

It is too much of a challenge to name all of the actors in this small amount of space, but I can say without reservation that everyone was top shelf.

If you want to brush up your Shakespeare, your Porter, and your musical theatre, get down to Hartford for this one. This is a Kate worthy of a huge kiss.

Kiss Me Kate Cast

Playing at the Hartford stage through June 14th. Info at www.hartfordstage.org

The Gloves Are Always Loaded

May 31st was the 32nd anniversary of the death of the great Jack Dempsey. On social media people marked the date by showing clips of Jack’s winning the Heavyweight Championship in brutal fashion from Jess Willard. In that bout Dempsey floored the giant Willard seven times in the first round administering one of the most severe beating ever seen in a boxing ring. By the end of the third round Jess was unable to continue having suffered broken bones in his face and ribs. For years it had been rumored that Dempsey’s hands were loaded (something heavy was put into his gloves along with his fists) for the fight. His former manager, with whom Jack had had a falling out, fed the flames by claiming to have taken part in the scheme. His accusations were driven by a desire to hurt his former champion. This controversy has been argued to exhaustion by fight fans over the years with most agreeing the fight was on the up and up, so I will not rehash the arguments here.

“In reality, the boxing glove has made the sport more dangerous.”

What has not been discussed much is the fact that in reality all boxers enter the ring with their gloves loaded, and I don’t mean with just their fists. It is interesting to learn just why the boxing glove and the taping of the hands came into existence, as most people believe it was to make the sport safer. That couldn’t be further from the truth. In reality, the boxing glove has made the sport more dangerous. I will give a very short history of how the boxing glove evolved and I think you will begin to understand what I mean.

The CestusThe first version of a boxing glove appeared in ancient Greece. The boxers of that era found they were breaking their hands when hitting each other in the head, so they began wrapping pieces of leather around their fists as a way to give more support to the bones in their hands. The ancient Romans, being the innovators they were when it came to making sports more barbaric, started adding small spikes to the leather hand wraps in order to make them even more deadly. There is an excellent example of this hand wrapping, or what was to become known as the cestus in the remarkable statute of “The Terme Boxer” or as it is more commonly known “The Boxer At Rest” in Rome. I have written about this incredible work of art before and include a photo of it with this article.

James FiggI will now skip ahead a couple of millennium to the period in England when boxing started to become very popular. In the 18th Century, James Figg, who has become known as the Father of Boxing, began developing a style of boxing, that while quite different from what we know it as today, set the stage for what would later develop into the modern sport of boxing. Figg incorporated many moves from the art of fencing into a sport that was to become known as boxing. This early version allowed for punching, but that was not the main emphasis. Grappling was also a big part of what went on in these matches. One of the reasons for the lack of punching was the fact that the combatants would break their hands hitting each other on the head. Our hands are made up of many small bones that break and bruise easily. Just ask anyone who has suffered from carpal tunnel syndrome and they will tell you how delicate the human hand can be.

As the sport moved on into the 19th Century, fighters continued to deal with the best way to avoid breaking their hands. In many ways boxing became more primitive as many of the fencing moves were lost and the grappling increased. Many of these later bareknuckle matches would last for hours as neither participant would want to take a chance on throwing a knock out blow until they were sure their opponent had slowed down enough so they could land a clean shot on the jaw, thus not injuring their hand.

Eventually, many of these fighters began wrapping their hands and wearing light gloves in order to allow them the freedom to land more head punches without fear of hurting their hands.

As boxing moved into the 20th Century, hand wrapping became much more sophisticated and the gloves improved quite a bit. At no point were the gloves improved with the idea of making the sport safer. They were further developed in order to allow for more head punching. This actually made the sport much more dangerous, for it was now possible for a large number of punches to be thrown at and landed on the head. This resulted in an increase of head injuries.

caestAt the beginning of this article I stated that boxing gloves are always loaded. I will explain. If you have ever had your hands properly taped for a fight you will know that first a roll of gauze is wrapped around the hand. This is followed by having the gauzed secured with a goodly amount of tape in order to keep it in place and to greatly strengthen the hand and protect the bones. Once this taping is done, that “loaded hand” is placed into a boxing glove which gives it even more protection. Take a well wrapped hand encased in a boxing glove and you can throw a full throttle blow at a brick wall and not hurt your fist. I have actually done that. Now, just think of how much harder you can hit another human being in the head with this set up.

“The modern boxer does not go into the ring with lead weights in his gloves, but he does enter the ring with a fist that is greatly enhanced for the purpose of causing more damage to the head.”

The modern boxer does not go into the ring with lead weights in his gloves, but he does enter the ring with a fist that is greatly enhanced for the purpose of causing more damage to the head. Dempsey’s hands were not illegally loaded the day he destroyed Willard, but I can guarantee you he would not have been able to land those head punches if his hands had not been wrapped.

The idea that somehow the boxing glove was developed to make the sport safer is a myth. The boxing glove, along with hand wraps, have made boxing more dangerous. An argument can be made that if you wanted to make boxing safer you would ban hand protection.

Nice Work If You Can Get It

Nice Work If You Can Get It

At The Ogunquit Playhouse

Is S’Wonderful

A new musical featuring the songs of George and Ira Gershwin, with dance numbers inspired by Busby Berekely and Fred Astaire, along with tear inducing comedy routines, and beautiful sets created by the team at the Ogunquit Playhouse with a superb cast all make for as fun a night of theatre as you will have.

Nice Work first appeared on Broadway in 2012. This run is directed by Larry Raben who collaborated with choreographer Peggy Hickey to build this production from scratch.

Amanda Lea LaVergne and Joey Sorge
Amanda Lea LaVergne and Joey Sorge

The most familiar names in the cast, Sally Struthers and Valerie Harper , both do a fine job in their roles as Duchess Estonia Dulworth, the founder of The Society of Dry Women, and Millicent Winter respectively. Ms Struthers, who returns to the Playhouse each season, sings, dances, and even swings from a chandelier.

Sally Struthers as Duchess Estonia Dulworth
Sally Struthers as Duchess Estonia Dulworth

The play is set in Prohibition Era New York, and the leads Amanda Lea LaVergne as the swaggering bootlegger Billie Bendix and Joey Sorge as the not so terribly bright, but charming, wealthy playboy Jimmy Winter work wonderfully together. The scene where Billie Bendix sings the beautiful love song Someone To Watch Over Me while holding, loading, and cocking a shotgun is original and quite good. And then there is the spanking scene that brought down the house. You have to be there for that one.

“James Beaman as Cookie McGee who poses as the butler at the Winter estate while working with the gang to smuggle hooch almost steals the show with his wisecracking voice and superb timing.”

James Beaman as Cookie McGee who poses as the butler at the Winter estate while working with the gang to smuggle hooch almost steals the show with his wisecracking voice and superb timing. George S. Kaufman would have signed him up after seeing this performance. Of course, in order to deliver great lines an actor has to have them, and there are certainly plenty of them in this play such as when McGee cracks “I’m not going back to prison because it means spending more time with my family.”

McGee cracks “I’m not going back to prison because it means spending more time with my family.”

Sally Struthers is a very strong presence on stage who can say more with a look then many performers can say with an entire monologue; however, she has met her match in Mr. Beaman who never misses a beat.

Amanda Lea LaVergne as Billie Bendix
Amanda Lea LaVergne as Billie Bendix

It is refreshing to see a new production in this era of commodity musicals. While Nice Work would be successful just as a song and dance piece, it is side splittingly funny, so funny in fact that at times the cast members struggle to contain themselves. It is a pleasure to watch a play where the actors are having as much fun performing as the audience is watching it.

I often praise the shows at the Ogunquit Playhouse and there is a good reason for that, they are consistently good. Some are better then others and I have my favorites. Nice work If You Can Get It is now up near the top of my list. You will not be disappointed if you see this. What you will do is leave the theater smiling and humming a tune. I just may go see it again.

Nice Work If You Can Get It at the Ogunquit Playhouse, Ogunquit, ME through August 15th. For information call 207.646.5511 or go to ogunquitplayhouse.org

Update:

Brenda Vaccaro will step into the role of Millicent Winter

Academy Award nominated film star Brenda Vaccaro will step into the role of Millicent Winter in the production of Nice Work If You Can Get It now playing on the Ogunquit Playhouse stage through August 15. Valerie Harper, who had been performing in the role, continues to rest after falling ill on July 29. Ms. Vaccaro will take the stage for the 8PM

performance on Tuesday, August 4, and through the end of the run.

 

Brenda Vaccaro
Brenda Vaccaro

“Valerie is feeling great right now and we want her to continue to rest and to enjoy her family. After discussing with them, we decided that we wanted to relieve her of any pressure of having to return to the show, which only runs for two more weeks. With Valerie’s blessing, the Ogunquit Playhouse is thrilled to announce that Brenda Vaccaro, star of film, television and stage, has arrived in Ogunquit to take over the role of Millicent Winter,” stated Executive Artistic Director Bradford Kenney.

Brenda Vaccaro is considered to be one of our nation’s most respected actresses. She has received an Emmy Award, a Golden Globe Award, the People’s Choice Award, and the Theater World Award. In addition, she has been honored with two Academy Award nominations, five Tony Award nominations, and numerous Emmy Award nominations.

Million Dollar Quartet

Opens At The Ogunquit Playhouse August 19th

The high voltage-voltage rock and roll musical Million Dollar Quartet will run at the Ogunquit Playhouse from August 19th through September 19th. The play is was inspired by the true story of a meeting at Sun Records Studio in Memphis that brought legends Elvis Presley, Jerry Lee Lewis, Carl Perkins, and Johnny Cash together for an afternoon that turned into a legendary jam session.

Scott Moreau as Johnny Cash, Robert Britton Lyons as Carl Perkins, Jacob Rowley as Elvis, and Nat Zegree as Jerry Lee Lewis in Million Dollar Quartet
Scott Moreau as Johnny Cash, Robert Britton Lyons as Carl Perkins, Jacob Rowley as Elvis, and Nat Zegree as Jerry Lee Lewis in Million Dollar Quartet

The Playhouse production will feature the original Broadway set designed by Derek McLane.  I will be reviewing this play over the weekend. I’ll let you know what I think as soon as I get back. Looks like there will be a whole lot of shaking go on in Ogunquit, so i hope I am not all shook up after seeing this.

 

For more information you can contact the Playhouse at www.ogunquitplayhouse.org  or call the box office at 207.646.5511

Give Him The Left Hook

Give Him The Left Hook

by Bobby Franklin

When first learning how to box, students of the Manly Art are usually told about the three basic punches: The jab, the right cross, and the left hook. (These would be reversed in the case of a southpaw.)

The jab has been called the most important punch in boxing, and it is. If you can’t reach your opponent with a jab, you will not be able to reach him with any other punch. It is both an offensive and a defensive blow and has many variations.

The right cross is used as a counter to the jab as it is the jab that it crosses over. When encountering a jab the person on the receiving end will attempt to slip it and fire a right hand over it with the intent of landing a good shot to the jaw.

The left hook is a great punch, but it is useless if not properly set up.

The left hook can be used in many ways. It is utilized as both a head and body punch. Like the jab, it can be thrown as a single punch or double and even tripled up. I have seen fighters through five and six in a row. It is also usually part of a combination such as, jab, right cross, left hook, all thrown in quick succession.

Robinson vs Fullmer
Robinson vs Fullmer

Many fighters have been known for having a great left hook, and it is a common, and usually true belief, that most boxers who rely on the hook tend to be shorter and often stockier then their counterparts. However, this is not always the case. Gerry Cooney was very tall and possessed a devastating left hook to the body. Tommy Morrison at 6’2” also had a tremendous left hook.

Robinson landed a perfectly timed hook to the chin of Fullmer knocking him out cold. Ray called the punch the most perfect of his career.

What has been called the greatest left hook ever thrown was not launched by a short stocky boxer but instead by a 5’11” middleweight by the name of Walker Smith Jr, more widely known as Sugar Ray Robinson. In the 5th round of his 1957 bout with Gene Fullmer, who was known as a hooker, Robinson landed a perfectly timed hook to the chin of Fullmer knocking him out cold. Ray called the punch the most perfect of his career, and many boxing experts have concurred with that sentiment. It was the only time Gene was ever knocked out. He was stopped in his last fight, but in that bout he retired on his stool.

A tall lanky boxer also landed two other memorable left hooks. Bob Foster at 6’3” and 174 pounds landed a picture perfect hook in winning the title from Dick Tiger. This was not a wild punch. Foster set Tiger up for the blow and then landed it flush on the chin with precision timing. Tiger was out cold for the only time in his career. As in Fullmer’s case, Tiger had only failed to go the distance one other time in his career, and that was a between rounds stoppage because of an injured thumb.

It is the paradox of boxing that fans were witnessing an artful display of boxing skill, a move that would rival that of any world class choreographed dancer, and at the same time watching a man possibly being killed…

In defending his title against Mike Quarry, Foster once again demonstrated the absolutely lethal power in his left hand. Again, he used his jab and shoulder feints to set up the

Bob Foster Stands Over Mike Quarry
Bob Foster Stands Over Mike Quarry

courageous Quarry. Once he made the opening, Foster let go with a left hook that rendered Mike unconscious before he hit the canvass. People in the arena and watching on closed circuit TV gasped as they saw the challenger fall to the canvas in a comatose state. It is the paradox of boxing that fans were witnessing an artful display of boxing skill, a move that would rival that of any world class choreographed dancer, and at the same time watching a man possibly being killed, and for a number of minutes following the blow it was in question whether the young Quarry would ever open his eyes again. Fortunately, he did regain his senses and got to his feet, but that punch will be remembered by all who witnessed it, and it will continue to invoke the question of how we can find such beauty in something so damaging to a fellow human being.

Ironically, Foster would later become the recipient of one of the most deadly left hooks ever landed when he challenged Joe Frazier for the Heavyweight Championship.

Joe fit the stereotype of the left hooker, being shorter and stockier then his opponent. He had also made a name for himself with the punch. His stoppage of Jimmy Ellis was another textbook example of how to throw the hook. In the final knockdown of that bout Frazier pivoted to his right and then landed a left hook flush on Ellis’s chin. Somehow Jimmy managed to get to his feet as the bell sounded, but Angelo Dundee mercifully stopped the fight at that point.

 

Frazier Knocks Out Foster
Frazier Knocks Out Foster

In the Foster vs Frazier fight Bob came out in the first round determined to make distance between himself and Joe. He was not going to fall into the trap of trading hooks with a hooker. He was jabbing and attempting to land his powerful right hand on Frazier, and he did manage to get a few in, but Joe was relentless. In the second round Joe dropped Foster with a left hook. When Foster arose, the champion pummeled him to the ropes where he landed a tremendous left hook to the jaw of the challenger. Foster was out cold. This time it was Bob Foster who was being counted over.

The left hook is a great punch, but it is useless if not properly set up. Yes, many boxers have gone out there and just thrown lots of hooks and eventually gotten lucky in landing one to win the fight, but as they move up to a higher caliber of competition they find that it takes more then just tossing punches. Both Foster and Frazier knew how to set up their opponents for the hook. Foster with his jab and feints, Frazier with his pressuring, slipping, and stepping to the side. It is these moves that put the art into the Art of Boxing.

 

 

My Brother The Boxer by Len Abram

Boxing came into my life when I was seven. In some ways, it never left.
I grew up in a small Massachusetts town with a few hundred Jewish families after World War II. An otherwise tolerant Christian community had a tiny minority, mostly teenagers, who insulted and bullied Jewish kids. After a few beatings, Jewish boys in Milford, including my 15-year-old brother Stanley, nicknamed Sookie, asked the synagogue leadership for help, a gym to learn to defend themselves.

Sookie At Age 14
Sookie At Age 14

The gym went into the basement of the synagogue. The businessmen who funded it knew what happened to millions of defenseless European Jews. The Rabbi of the congregation himself was a survivor, whose wife and children had been murdered. Recently, the state of Israel also fought for its life.

Upstairs in the synagogue were shelves of books and an ark with scrolls promoting loving your neighbor as yourself and praying for peace. These were among eternal truths of unmatched spiritual power. Downstairs, in the world of Everlast, was preparation for battle: stacks of York weights and barbells, benches, gloves, head gear, medicine balls, jump ropes, chin-up bars, mirrors, speed and heavy bags, a canvas-covered ring, and throughout, the smell of sweat on leather.

The boys needed a trainer and got two. A WWII veteran offered to help with physical conditioning. Jake, the vet, had been stationed on a Pacific island, on the supply chain to feed, fuel, clothe and arm MacArthur’s drive toward Japan. When the Navy guys could, they trained. They lifted two canteens dipped in cement at the ends of a broomstick.

With brand new equipment, Jake turned my brother and his friends into athletes. He found a boxing trainer, who taught my brother and his friends what A.J. Liebling has called, the sweet science. Sookie became his most able student.

“They lifted two canteens dipped in cement at the ends of a broomstick.”

In school, my brother wasn’t much of a student, but he trained to box for hours a day, sometimes four, sometimes six to prepare for a fight. He read books by Joe Louis and later Rocky Marciano, but Louis, the Brown Bomber, was his real hero, along with Moses and David Ben-Gurion.

I remember how Sookie came home from his road work, sprinting through the neighborhood. The lines around his mouth were white from exhaustion and nausea. How he held a barbell in his outstretched arm until his shoulder shook, this to strengthen his jab; how he dimpled the heavy bag with his gloved fists; how he turned the speed bag into a blur. He jump-roped and shadow-boxed into something that looked like a dance. The trainer used to slam a medicine ball into his tightened belly. My brother allowed one of my friends to punch him in the stomach with all his might. The slap of his fist was loud. My brother moved with the punch, which had little effect.

“He jump-roped and shadow-boxed into something that looked like a dance.”

As for sparring, my brother was nearly blind without glasses. He had to give them up in the ring. With no contacts available at the time, he watched his opponents’ feet. From their footwork, Sookie knew what they would throw. He’d block and counterpunch. Sookie was a very good counter puncher, for another reason.

My mother disapproved of violence and boxing, although there were plenty of Jewish boxers, some champions. My parents’ ideals were closer to those of the synagogue above the gym than the gym below. Perhaps this was one reason behind my brother’s complaint that he needed to get hit once to get into the fight. Counterpunching fit the defense-turned-offense requirement.

Sookie, Middle, With Sister Helen And Brother Len
Sookie, Middle, With Sister Helen And Brother Len

The purpose of the gym in the synagogue basement was defensive too. The bullying, intimidation and insults toward Jewish kids in the small town disappeared or decreased. The Jewish kids could defend themselves. That was enough to end their victimhood and teach many of us a lifelong lesson on how the world too often works.

My brother’s reputation as a fighter grew. We had a cousin in Revere, picked on because of his small size. One day when he was bullied, he invited the aggressor to wait for his cousin, who was sure to fight him when he next visited. Sookie arrived and the bully challenged him to a fight. In boxing, my brother learned that brawn is not enough. Boxing is a thinking sport, backed up by muscle. The bully tried to brawl. My brother hit him until he quit.

Sookie fought so well that he was encouraged to fight professionally. My father’s friends watched him spar, and offered to support him with cash while he trained and found fights. My parents were completely against that idea. I cannot tell if my brother was disappointed. Perhaps that would have made his beloved sport into a business.

Sookie went into the Army, where he finished his high school education. He went onto college under the GI Bill and studied until he had a master’s. He got married and had kids. He became a guidance counselor at a large regional high school and rode a motorcycle to school, even in winter. He didn’t box anymore, but he always trained. For a while, he led a fencing club at the high school. Students kept visiting him after he retired.

A decade before he died, he invited me to his basement, where he had set of vinyl-covered weights and barbells. We chatted about life while he lifted, sweating through hundreds of reps, as he called them, the stamina builders.

“These require – no other word for it — courage.”

Joan Benoit Samuelson, outstanding marathoner, says that “marathons are a metaphor for life.” Boxing is perhaps an even better metaphor. Like any athlete, the boxer sacrifices to reach the highest level of conditioning and skill. However, it’s the personal risk to the body and the brain, as well as the risk of humiliation in search of success, all within rules of good sportsmanship. These require – no other word for it — courage.

Years later, I wrote a song called “The Boxer’s Creed” with this chorus:
You’re not going down
Say it between rounds
Until your soul hears the sound
You’re not going down.
Fists in the air
Bring it on, Despair,
I am not going down, not going down.

Is Floyd Mayweather, Jr. an All-Time Great Boxer?

BY

MIKE SILVER

“Floyd’s technical flaws are obscured by his extraordinary speed and athleticism, but on the few occasions when he defended his title against a capable opponent these flaw were exposed.”      

If the modern era of professional boxing had begun in the 1980s instead of the 1890s there is no question that Floyd Mayweather, Jr. would rank among the top ten greatest boxers of all-time. But the modern era of professional boxing began over 100 years ago. That is a lot of boxers to consider! Most historians agree the sport’s true golden age, in terms of the numbers of quality boxers competing at the same time, occurred from the 1920s to the 1950s. Floyd Mayweather, Jr. turned pro in 1996. He is undefeated in 48 fights. Yes, his amazing speed, reflexes and keen sense of anticipation have enabled Floyd to win titles in five weight divisions—but could he have attained that same level of success if matched against the best fighters of decades past?

Before I go any further let me establish some ground rules. I do not measure a contemporary fighter’s alleged greatness by the number of title belts he possesses or his won-loss statistics. The out of control title inflation that has plagued the sport in recent decades and the huge number of undefeated records (unprecedented in the history of the sport) built on inferior opposition should deemphasize those factors. Far more important is an accurate analysis of the fighter’s technical skills while at the same time taking into account the quality of his competition.

SEND IN THE CLOWNS

Prior to the 1970s, before an alphabet soup of competing “sanctioning organizations” wrecked boxing’s traditional infrastructure by anointing their own set of champions and contenders (often based on payoffs and corrupt relationships with powerful promoters) the boxing establishment recognized 8 world champions in 8 traditional weight divisions. That was the self-imposed general rule for more than half a century.  It wasn’t a perfect system (after all, this is boxing) but for the most part it worked. Boxing fans could easily identify the 8 champions and the 80 “top ten” contenders, all of whom were rated according to merit. Today, thanks to the greed of the quasi-official sanctioning groups (their racket is extorting “sanctioning fees” from every fighter who competes for one of their cheesy title belts) there are over 100 “world champions”. Even dedicated fight fans would be hard pressed to name more than half a dozen. In order to multiply the number of champions—thereby generating more fees—these boxing parasites created nine additional weight divisions (of which at least seven are unnecessary). There are now about 700 “top ten” contenders in 17 weight divisions listed among the four major sanctioning groups.  In other words, there are far more opportunities to win a championship than ever before—and also to defend it against a challenger plucked from the thinnest talent pool the sport has ever known.

Floyd Mayweather, Jr. has taken advantage of and benefited from the absurdity by often cherry picking challengers who he surmised would present less of a threat. Against such limited opposition Floyd’s technical flaws are obscured by his extraordinary speed and athleticism. But on the few occasions when he defended his title against a capable opponent these flaws were exposed.

MOMENT OF TRUTH

Although Manny Pacquiao was among the two or three best opponents that Mayweather had ever faced, their recent mega bout came at least five years too late. Both fighters were passed their prime. Mayweather won a very close decision, but their fairly tame encounter failed to provide the answers we seek. It was his bout with Oscar DeLa Hoya eight years earlier, when Floyd was at his absolute best, that does provide the answer.

“In a pugilistic population lacking both seasoning and ring savvy, fighters with superior athletic prowess automatically rise to the top.”

Oscar De LaHoya was the first opponent that Mayweather encountered in his prime who was at or near his level. Oscar was slightly passed his own prime and had fought but once in the previous 20 months but he was still one of the best boxers in the world. The result was a very close split decision victory for Mayweather. Shortly after that bout I interviewed several boxing experts asking for their thoughts on Mayweather. I included their comments in my book, “The Arc of Boxing”. Following are excerpts from those interviews.

WEIGHING IN

Teddy Atlas (one of the sport’s greatest trainers and currently a ringside analyst for ESPN):

“In the old days there were fighters who were good defensively, but the difference was they had the attitude, and the wherewithal, to go and find a way to create an offense that would make it possible to take control of the opponent in a more meaningful way, in a more dominant way, and in a much more productive way.

“Even a recent fighter like Sugar Ray Leonard, who I think was a terrific fighter, would find a way to be aggressive and get to his opponent while at the same time maintaining a responsible defense. He would not just find a way to do enough to just get by.

“In his fight against Oscar De La Hoya, there didn’t seem to be an ability shown to you by Mayweather to create another way to get to him—other than when De La Hoya made it easy for him and just opened the door for him by walking in with no jab and not offering up the answers and the resistance that he should have. The only offense that was created by Mayweather was actually given to him by his opponent.

“Whenever De La Hoya used his left jab this ‘great’ fighter Mayweather looked like he had no answers.”

            “Boxing means using your head, using geometry, using the science of angles, the science of adjustments. And all you have to do is make it a kind of landscape where the other guy can’t use what he has. You fight in a place where speed doesn’t come into play. You use your reach to keep your opponent at a certain distance where you can time him. Timing can always get the better of speed when it’s used properly and understood properly. You time your opponent and keep him at the end of your punches. And if you use your reach properly you are not giving him anything to counter. Whenever De La Hoya used his left jab this ‘great’ fighter Mayweather looked like he had no answers. But when Oscar didn’t use his jab and just walked in it looked like Oscar had the problem.

“When De La Hoya forced Mayweather to the ropes he flailed away instead of placing his punches in the right way. You would expect a fighter at that level to find the right places and to know what the right places were, and where they were. De La Hoya threw his punches almost in a hopeful way. Real top guys don’t throw in a hopeful way. They throw their punches in a defined way— in a way that their experience and judgment tells them they need to throw.

You cannot get intoxicated to the point where you are comparing Floyd Mayweather Jr. to the greatest fighters of all time. I’m not taking anything away from Floyd, but I think it’s insulting to the great fighters and to the great history of the sport to make that comparison.”

 

Mike Capriano, Jr. (Former trainer and manager. Saw his first pro fight in 1938. During the 1950s was head coach for the Camp Lejeune Marine Corps boxing team that won a record number of service championships):

“I think the critics have a misunderstanding of the difference between speed of movement and speed of attack. Those fast and elusive old time boxers we saw always were involved in maintaining the attack. They were always looking for spots to land effective punches. They weren’t runners doing nothing and then jumping in and throwing a flurry of punches. They were different.

“Ali never ran away like Mayweather. Ali was fast but he was moving left to right and looking to hit you with punches. Sugar Ray Robinson was also extremely fast. He was up on the soles of his feet bouncing and moving left to right. But he wasn’t running here and running there. He was interested in making contact with his punches. And Robinson was a very hard puncher.

“Mayweather just wants to punch and run. But against those old time welterweight and middleweight fighters you are not going to do that because they’re going to keep you on the ropes and hit you with clean punches. He could run all he wants but sooner or later he has to come in to make contact with his opponent and then those guys are going to tie him up and grab him, push him into the corner, push him up against the ropes and start ripping punches up.

“When De La Hoya had Mayweather on the ropes he was unable to hurt him or keep him there. You’ve got to be able to slide and move in. De La Hoya doesn’t know how to do that. He doesn’t know how to move under punches. He’s in that crouch but he doesn’t bend under and really get down. He’s slapping Mayweather 100 times with that left hand when he’s got him on the ropes and it’s ineffective.

“What De La Hoya should have done when he had Mayweather on the ropes was to stay right in his middle. He should have had his head right in the middle of his chest. You then take a step back to get leverage and throw an uppercut or hook. De La Hoya did not know how to keep him on the ropes.

“This fight wasn’t any kind of test that establishes the credibility of greatness. They both looked like a pair of ordinary ten round fighters.”

  “Neither fighter landed any terrific punches; no right cross combinations or left hooks underneath and over…real punches that dug in. They also did not appear to know how to step in with their punches.

“This fight wasn’t any kind of test that establishes the credibility of greatness. They both looked like a pair of ordinary ten round fighters. They traveled the distance well but, as I’ve said, they are not getting hit by guys that are going to hurt you. The better old timers would feel they’re opponent out for a couple of rounds and then, all of a sudden, ‘bing, bang’ you’d see some dynamite punches coming in.

May weather vs De La Hoya
May weather vs De La Hoya

“Carmen Basilio would have beaten both De La Hoya and Mayweather. They are not in Emile Griffith’s class either. And how about Kid Gavilan? I mean Gavilan’s going to fire punches that make a difference. And he’s strong and he’s pushing you. Gavilan would have Mayweather on the run, up against the ropes. He’d be throwing that bolo and other shots and he’s hurting Mayweather. It’s a different kind of fight.

“Fighters like Joey Archer and Billy Graham are going to box Mayweather. They’d have that left hand out in front and throwing combination punches. They are going to box him. And when Mayweather jumps in to deliver his quick punches he’s not going to hit anybody because they’re going to tie him up and put him back out there. It’s going to be a boxing match. The old pros are looking at him and arranging for where they’re going to attack and they’re setting him up.

“The old timers came to fight. He could do all the running, but they wouldn’t get caught up in his evasive movements. Mayweather has speed, but it is not combined with cleverness. They’d just wait until he’s in position where they could hit him. He’s going to have to fight sometime. The referee is going to tell him ‘look, you’ve got to engage this guy’. We’ve seen fighters run all night and people began booing and carrying on. So he can run around but when he fights a superior pro you’d see a different fight. You won’t see it today because no one knows how to do that. Fighters like Fritzie Zivic gave people college educations. There’s no one around like that today.”

 

Tony Arnold (Amateur and professional boxer 1949-1957. Former archivist for one of boxing’s largest film libraries):

“What did Mayweather do with his speed? He made De La Hoya chase him. That’s all. He didn’t use his speed like a Willie Pep to maneuver around an opponent’s defenses and hit him with sharp combinations and then move out of the way. I’m talking about using speed in a clever way. Mayweather just used his speed to keep himself from getting hit. And that’s supposed to be a great? There was no real display of skill or strategy.

“Mayweather’s jab is so tentative and ineffective I can’t even call it a jab. His right foot was already going back as he threw it. He was backing off because he’s very cautious and he was worried about a counter punch. The jab was just keeping distance between him and De La Hoya. It wasn’t being used to out box De La Hoya, it wasn’t controlling the fight and it wasn’t even a good defensive move because he wasn’t able to do anything. He just jabbed and backed off. But that tentative jab was enough to keep De La Hoya at long range for much of the fight.

“Mayweather’s strategy was to hit De La Hoya with quick pot shots and dance away and just pile up enough points to stay ahead, which he barley did. I mean the fight was practically even as far as I’m concerned. Mayweather did not set anything up. He didn’t make De La Hoya miss and then counter. He was relying on his speed and luck to land punches. They were just flailing at each other. I didn’t see any smart combinations. I did not see any good calculating counter punching. I never saw either fighter throw a two or three-punch combination. There was no taking advantage of mistakes. There was no looking for opportunities. I don’t think they would have known an opportunity if it fell on them. Mayweather and De La Hoya are not thinking fighters with the skill or experience to know what to look for.

“Floyd Mayweather, Jr. has a great deal of natural ability but it hasn’t been brought out the way it was with fighters of years ago. I don’t think he jabs enough. And he doesn’t take advantage of opportunities.”

“Mayweather is quicker than the other guy, he throws faster punches, he maneuvers around, but he doesn’t show any real skills. I didn’t see any real feinting or good head movement. I never saw him slip and counter. Not once. I didn‘t see any skill in that area at all. He’s got so many flaws.”

Bill Goodman (Licensed corner man with the New York Athletic Commission 1957-66. A student of the boxing scene for over 60 years):

“Floyd Mayweather, Jr. has a great deal of natural ability but it hasn’t been brought out the way it was with the fighters of years ago. I don’t think he jabs enough. And he doesn’t take advantage of opportunities. He ducks and slips punches but instead of taking advantage of what he just did he lets it go by. He doesn’t follow up. He makes some pretty moves, and looks nice doing it, but nothing happens. He doesn’t fire. Mayweather throws one left hand and he stops punching. He doesn’t follow it up with 2-3-4 left jabs like they did years ago. Consequently, he doesn’t get a barrage going, he doesn’t get any momentum.

“Mayweather is very fast, but he does not compare to those better welterweights that were around years ago. How can you compare him to a guy like Tommy Bell from the 1940’s? It’s night and day. Of course someone who doesn’t know Tommy Bell would see a number of losses on his record and not be impressed. But look at who he fought! Bell fought anybody and everybody. Like most fighters he stayed around a lot longer than he should have, but in his prime he would have licked both Mayweather and De La Hoya with one hand tied behind his back.

“Even a guy like Gil Turner, who was a 1950’s welterweight contender, wouldn’t have any trouble with either Mayweather or De La Hoya. Isaac Logart and Gene Burton wouldn’t have any problem with them either. Not only were these contenders well educated; they put their education to use. They fought frequently and kept busy—and they were better fighters.

“They talk about Mayweather’s speed, but he isn’t as fast and as skillful as Bernie Docusen who fought Sugar Ray Robinson for the title in 1948 and gave him plenty of trouble. Would you say Mayweather’s going to give Ray Robinson as a welterweight plenty of trouble?

“There’s no comparison. But you go and tell that to a young boxing fan today and they think you’re a psycho.”

 

What these authentic boxing experts are saying (and I emphasize the word “authentic”) is that Floyd Mayweather, Jr. despite his obvious talent, is not in the same league as the best champions and contenders of previous decades. To the untrained eye Mayweather appears to be a great fighter because his dazzling speed is more than enough to dominate second and third rate opponents. But when faced with an opponent that he could not totally dominate with his speed Floyd’s stylistic flaws were revealed.

PROFESSIONAL AMATEURS

Part of the problem many people have in evaluating the quality of today’s champions is that since the 1990s the line separating the skills of top amateur and top professional boxers has become blurred. Most of today’s champions have extensive amateur backgrounds. But they are not exposed to the same type of professional apprenticeship common to fighters of the past. The majority win a title belt before their 20th pro contest and have fought less than 150 rounds (the averages years ago were 40 to 70 fights and about 400 rounds). There is no chance to gain the kind of bout-to-bout education and experience that empowered the early greats. This is why there remains a hint of lingering amateurism in the fighting styles of most of today’s champions. They do not need to master the finer points of professional boxing technique because the competition does not demand it. In addition, most of today’s trainers do not have enough knowledge or background to teach the old moves. Body punching, feinting, drawing a lead to set up a counterpunch, proper use of the left jab, bobbing and weaving, infighting, timing and mobile footwork are among the lost boxing arts. These days an athlete with superior speed and size rules the roost because no one has the experience, training and knowhow to effectively counter those purely physical qualities.

It is right that Mayweather owns the “pound for pound best” title because in a pugilistic population lacking both seasoning and ring savvy, fighters with superior athletic prowess automatically rise to the top—and Floyd just happens to be the most physically gifted fighter. But at age 38 Floyd’s legs have lost their spring, his speed is a smidgen slower, and his endurance is not what it once was. Without the sophisticated skill set of a seasoned old pro to fall back on (think Archie Moore, Emile Griffith and Roberto Duran) Floyd, like Roy Jones Jr. before him, will soon be vulnerable against even those second rate opponents he used to chew up and spit out. Is Andre Berto that opponent? (They are scheduled to fight on September 12th). Again, Floyd has chosen wisely from the weakest of the herd. On paper a Berto victory looks nearly impossible. Once very promising, the 31 year old with a 30-3 record is now damaged goods because of steroid use and ill-advised weight training that have diminished his speed and punch. Nevertheless, against an aging fighter anything is possible and don’t think Floyd doesn’t know it. If he is unable score an early KO an attempt will be made to steal rounds and score points with occasional flurries. At this point in his career pacing is very important. Don’t be surprised if Floyd fails to impress.

SUMMING UP

There is no denying the fact that Floyd Mayweather, Jr. is a very good fighter. His whippet speed and finely honed fistic instincts might have stymied some of the ring greats from boxing’s golden age—but not for long. They would have made the necessary adjustments. If Floyd was born 50 years earlier he might have developed the ring generalship and cleverness that is missing from his otherwise impressive repertoire. Those qualities would have been an absolute necessity if he were to compete successfully against the top fighters of the past. But even then Floyd’s success would not have been guaranteed in that fierce competitive jungle. What is certain is that without these added dimensions Floyd would not have been able to establish a legitimate claim to greatness.

Note: The reader is encouraged to read Mike Silver’s book “The Arc of Boxing: The Rise and Decline of the Sweet Science” for additional comparisons and analyses between the best boxers of today and those of decades past.

 

 

 

 

 

 

 

 

Pender vs Hagler

Pender Had The Style To

Give The Marvelous One Trouble

But Could He Have Won?

By Bobby Franklin

The Boston area has produced three World Middleweight Champions. Johnny Wilson, who was originally from Harlem, Paul Pender from Brookline, and Marvelous Marvin Hagler from Brockton by way of New Jersey. Interestingly, two of these champions, Wilson and Hagler, were southpaws.

Pender Defeating Ray Robinson
Pender Defeating Ray Robinson

While watching clips of Paul Pender in action I started to think about how a matchup between these two local world champions would have played out. Hagler’s name is always included in any list of great middleweight champions, while Pender is remembered as a very good, but not great, champion. However, a boxer not being ranked on the all time great list does not mean he would not have posed problems for one of the best. It has been repeated over and over but is still true, styles make fights. Ken Norton is never ranked as an all time great, yet in their three fights he gave Muhammad Ali, the number one choice of many boxing experts, all he could handle. Many believe he deserved the decision in all of their match ups, not just the first one where he broke Ali’s jaw. If they fought a hundred times it would always be a tough fight for Ali. Why? Because Norton had a style that Ali just could not cope with.

…it is interesting to note that neither champion was ever beaten by the same opponent twice.

In comparing Pender and Hagler it is interesting to note that neither champion was ever beaten by the same opponent twice. In Hagler’s case, with the exception of Ray Leonard, he avenged every one of his losses.

Paul Pender
Paul Pender

Pender had a record of 48 bouts with 40 wins (20 Kos), 6 losses, and 2 draws. Paul was stopped on 3 occasions. He fought a total of 345 rounds.

Marvelous Marvin Hagler
Marvelous Marvin Hagler

Hagler’s record stands at 67 total bouts with 62 wins (52 Kos), 3 losses, and 2 draws. He had a total of 398 rounds fought in his career. Marvin was never stopped.

Pender fought most his fights in the 1950s, his pro career began in 1949 and ended in 1962. Hagler’s ran from 1973 until 1987.

Pender and Hagler would both enter the ring supremely confident.

So, what makes this an interesting fight? Well, first off, since this is all conjecture, let’s assume each contestant has a piece of a divided Middleweight Crown. Remember, that when Pender won the title from Sugar Ray Robinson the majority of governing bodies did not recognize it. In promoting the bout at the Boston Garden it would not only be built up as a championship match between two local fighters, but two local fighters with a claim to the title. The winner would walk away as the undisputed titleholder, great motivation for both of them. This would probably be the only time in history that the Boston Garden would be sold out for a boxing match.

Pender and Hagler would both enter the ring supremely confident. Marvin having taken out Thomas Hearns in one of the greatest fights of all time, and Paul having defeated the great Sugar Ray Robinson twice. Neither man would be intimidated by the other.

Now to their styles: Pender is thought of as a boxer, but he was really a boxer puncher. He moved fast on his feet, had quick hands, and was a master of the feint. He also had an excellent left hook that he would work off of his jab, sometimes throwing it immediately after landing a jab, and sometimes feinting a jab and moving in with the hook. Paul also had power in both hands.

Marvin is best known as a lethal puncher, but he could box as well. It was also very difficult to hit him with a clean shot. He kept his chin tucked down and had excellent head movement. Once he had an opponent hurt he would finish him off. Marvin was always in excellent shape and had a burning desire to win that never abated throughout his career.

Hagler Defeating Duran
Hagler Defeating Duran

The two Hagler fights that give us a clue to how Pender would have done against him are the Duran and Leonard bouts. Duran, like Pender, was a master at feinting, though he used more body feints then Paul. That feinting kept Marvin a bit on edge and made the fight competitive. He ended up winning a much closer decision then most experts expected.

Paul’s most effective weapons against Marvin would be his footwork, his left hook off a jab feint, and his follow up right hand

Leonard showed how movement could be a problem for Marvin. Of course, there was a lot more going on in that bout that I will not get into here, but it did show that a boxer who kept his cool, stuck to a plan, and fought in flurries could be a problem for Marvin.

Pender could do all of that. Paul’s most effective weapons against Marvin would be his footwork, his left hook off a jab feint, and his follow up right hand. He would be moving in and out, attacking and retreating, moving side to side. All of this would give Marvin a lot of trouble, but for how long?

While Paul would be frustrating Marvin, he most likely would not be able to get a clear shot off on Hagler’s chin. Hagler would start increasing the pressure and begin cutting the ring off on the Brookline native in the hope of cornering him and landing a barrage of punches in order to at least slow him down. This would be difficult, but not impossible to do as Pender was always thinking in there and did not tire.

I think this would have been a very interesting fight. Remember, I am talking about both of these champions meeting in their primes with the title at stake. It would also be a fifteen round match and both would be local favorites.

I am going to leave the outcome up to my readers, but I do believe this fight would have gone the distance and the fans would have gotten their moneys worth.

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Julius Caesar at the Trinity Rep

Beware the Ides of March,

But Have No Fear Of Buying A Ticket For This Production

Of Julius Caesar In Providence.

The other night I traveled south to Providence, Rhode Island to see the Trinity Rep’s production of Julius Caesar. This play kicks off their 2015-2016, and it is a great start.This version is set in contemporary times with the government rulers in business or military attire. The set conveys a somewhat decaying aura that fits with the turmoil that is to ensue. Director Tyler Dobrowsky also makes interesting use of a live video camera that projects certain parts of the play onto two walls giving us the flavor of the events being covered in this age of the 24 hour news cycle. There are also occasional news scrolls across the same walls.

The cast of Shakespeare’s Julius Caesar at Trinity Rep Photo by Mark Turek
The cast of Shakespeare’s Julius Caesar at Trinity Rep
Photo by Mark Turekto ensue.

The set conveys a somewhat decaying aura that fits with the turmoil that is to ensue.

A nice touch is the string quartet that is situated above the action but in full view of the audience. The music, by Polish composer Henryk Gorecki, is somber and influences the mood. My only quarrel with it is in the second act where it is a bit overdone as the mood has already descended and the audience does not need reminding of that fact.

Stephen Thorne’s Brutus is a perfect balance between the cold blooded conspirator, idealist, and a man who’s lust for power equals Caesar’s.

Caesar is played by Anne Scurria who does a wonderful job as a female but not feminine Caesar. I am not clear as to,or if, a message is being conveyed by having him played as a woman.  Ms Scurria is still called Julius and the pronouns referring to Caesar have all been changed to the femine. Calpurnia is renamed Calpurnius, the male version of the name, and is played by Mauro Huntman. Huntman reminds a bit of Al Bundy and you really can’t blame Caesar for not going to the senate on that fateful March day when faced with the choice of staying home with her husband who appears ready to spend the day in pajamas.  I am certain many will read much into this given that the current presidential election season has begun, but I really didn’t see any overt links to any of today’s politicians other than the fact Caesar is wearing a pantsuit.

Anne Scurria as Julius Caesar and Mauro Hantman as Calpurnius Photo: Mark Turek
Anne Scurria as Julius Caesar and Mauro Hantman as Calpurnius Photo: Mark Turek

Stephen Thorne’s Brutus is a perfect balance between the cold blooded conspirator, idealist, and a man who’s lust for power equals Caesar’s. While he may believe he is working for the greater good, and he does his best to convince himself, the people, and the audience, we find he is another manipulating politician.  It is a complicated role for an actor, but Mr. Thorne does a fine job getting all of these emotions across.

This Caesar, as bloody as any, also has a number of laughs. Fred Sullivan, Jr. as the hypocritical Casca is witty and sarcastic as he first takes the stage, though he has to repeatedly reach for liquid courage from the flask he keeps hidden.

 Marc Antony’s playing up to the press and mugging for the camera is very effective.

The funeral oration given by Joe Wilson, Jr.’s Marc Antony is very interesting. The live camera arrives on the scene to broadcast the speech, and Mr. Wilson does a marvelous job

Joe Wilson, Jr. as Marc Antony and Anne Scurria as Julius Caesar Photo by Mark Turek
Joe Wilson, Jr. as Marc Antony and Anne Scurria as Julius Caesar Photo by Mark Turek

of showing with his eye movements and turn of head how well the deep thinking Antony manipulates the crowd by turning what was expected to be a simple eulogy honoring his friend into a rallying cry for civil war.  Marc Antony’s playing up to the press and mugging for the camera is very effective and will certainly resonate in this age of sound bites.

 

It is impossible for the Trinity rep to put on a bad production of a Shakespeare play if Brian McEleney is in it. Having seen him in the Rep’s productions of Richard III and King Lear, I have to say he is one of the finest Shakesperaen actors gracing New England stages today. He does not disappoint as Cassius who at first is petty and manipulative as he convinces Brutus to conspire in the assassination of Caesar. Cassius redeems himself in Act II but it is too late. Mr. McEleney is a joy to watch as he practices his stage craft, and I could envision an evening of him doing a solo performance of the works of Shakespeare. He has a wonderful voice and exquisite timing.Brian McEleney as Cassius and Stephen Thorne as Brutus Photo by Mark Turek

 

Mr. McEleney is a joy to watch as he practices his stage craft

Some liberties were taken with this production, but they work. Particularly the closing scene, which is incredibly effective. I won’t spoil it for you.

I highly recommend this production even sans the togas. It is interesting, well played, staged, and directed as it shows us how ambition and the lust for power are timeless. Beware the Ides of March, but have no fear of buying a ticket for Julius Caesar in Providence.

Julius Caesar at the Trinity Rep playing through October 11th

201 Washington Street, Providence, RI, www.trinityrep.com, 401-351-4242

Directed by Tyler Dombrowsky. Set design by Michael McGarty. Costume design by Oliver Gajic. Lighting by John Ambrosone.

Cast:

Julius Caesar Anne Scurria*
Brutus Stephen Thorne*
Marc Antony Joe Wilson, Jr.*
Cassius Brian McEleney*
Portia RachaelWarren* Calpurnius/Octavius Mauro Hantman* Cicero Barbara Meek*

Casca/Titinius FredSullivan,Jr.*
Decius Brutus/Messalla Richard Donelly* Marullus/Metellus Cimber Timothy Kopacz Flavius/Trebonia Olivia Khoshatefeh Soothsayer/Lucilius GriffinSharps Pindarus GeorgeOlesky
Cinna/Cato Joshua Lomeli
Lucia TaraSullivan

Musicians:

Viola HannahRoss Violin ChaseSpruill Cello AdrienneTaylor Violin EthanWood

 

 

 

 

 

SpeakEasy Stage Presents NE Premiere Of appropriate

From September 12-October 10, 2015, SpeakEasy Stage Company will proudly present the New England Premiere of appropriate, the thrilling new drama about race and identity by acclaimed African-American playwright Branden Jacobs-Jenkins.

A 2014 Obie Award-winner for Best New American Play, appropriate follows the estranged members of the Lafayette clan as they gather at their crumbling Arkansas plantation home to mourn the loss of their father and settle his estate.  While sifting through a lifetime of memories and junk, they make a gruesome discovery that forces them to examine their own lives and confront their family’s dark past.

appropriate will run for five weeks, from September 12 through October 10, in the Roberts Studio Theatre in the Stanford Calderwood Pavilion at the Boston Center for the Arts, 527 Tremont Street in Boston’s South End.

Jacobs-Jenkins has said in interviews that, when writing appropriate, he was inspired by and “appropriated” bits from iconic American Family Drama plays such as Cat on a Hot Tin Roof, Long Day’s Journey into Night, Buried Child, and August: Osage County.  By remixing and riffing on his source material, Jacobs-Jenkins uses a genre traditionally dominated by white American playwrights to comment on race relations in both America’s history and theatre.

Director M. Bevin O’Gara returns to SpeakEasy Stage to direct the New England premiere of appropriate. This is her fourth project for the company, having directed A Future Perfect, Tribes (Elliot Norton and IRNE Award, Best Production) and Clybourne Park. Bevin is the Associate Producer at the Huntington Theatre Company and a recipient of the Lois Roach Award for Outstanding Commitment to the Boston Theatre Community.

To bring the Lafayette family to vivid life, Ms. O’Gara has gathered an exceptional cast of Boston-based actors: Bryan T. Donovan, Katie Elinoff, Tamara Hickey, Melinda Lopez, Brendan O’Brien, Alex Pollock, Eliott Purcell, and Ashley Risteen.

   The design team includes Cristina Todesco (scenic), Tyler Kinney (costumes), Wen-Ling Liao (lighting), Arshan Gailus (sound), and Angie Jepson (fight choreography).

appropriate will run for five weeks, from September 12 through October 10, in the Roberts Studio Theatre in the Stanford Calderwood Pavilion at the Boston Center for the Arts, 527 Tremont Street in Boston’s South End.

Ticket prices start at $25, with discounts for students, seniors, and persons age 25 and under. For tickets or more information, the public is invited to call the box office at 617.933.8600 or visit www.SpeakEasyStage.com .

Mayweather Goes To 49-0

Mayweather Goes To 49-0
Am I Supposed To Be Impressed? 
Comparisons To Marciano Are Ridiculous

With his recent decision victory over the very mediocre Andre Berto, Floyd Mayweather has improved his record to 49 wins with no losses. Many in the boxing world are now saying this puts Floyd on a par with Rocky Marciano who ended his career with a record of 49 and 0.

Today, boxing pundits discuss the sport more like it is baseball.

This comparison is just plain idiocy and I feel it sullies the name of Rocky Marciano to even discuss it. But, since so many so-called boxing experts seem convinced that Mayweather has done something earth shattering here, I feel I must chime in.

Former champs Fritzie Zivic and Henry Armstrong would have chased Floyd out of the ring.

Archie Moore vs Rocky Marciano
Archie Moore vs Rocky Marciano

Today, boxing pundits discuss the sport more like it is baseball. They use all kinds ofcrazystatistics to try to convince us that we are living in some golden age of boxing. They cite punch stats, the amount of consecutive rounds won by a fighter, and the most ridiculous of all, the number of titles a champion has won. Seeing that just about every fighter who has over a dozen fights manages to get crowned with some type of a title has only trivialized the whole concept of being a world champion. I have written on this subject before where I discussed how the heavyweight championship has lost any essence of prestige. This also goes for all of the other weight divisions.

 

Henry Armstrong vs Fritzie Zivic
Henry Armstrong vs Fritzie Zivic

As to this 49 and 0 business, Mayweather is a fighter with at most average talent whencompared to the days when boxing was an art. Former champs Fritzie Zivic and Henry Armstrong would have chased Floyd out of the ring. Emile Griffith and Luis Rodriguez would have toyed with him and made him look like an amateur. Curtis Cokes and Tony DeMarco would have destroyed him. Can you even imagine Mayweather putting up with the relentless pressure Carmen Basilio would have applied? Sugar Ray Robinson and Charley Burley would have surely been charged with attempting first-degree murder for even agreeing to fight him.

I could go on and on about the superior records of so many of the fighters of the past when boxing was an art, not the silly carnival it has become today.

Now we have this insane comparison between Floyd Mayweather and Rocky Marciano which is all based on the fact that in a period of almost 20 years Floyd has complied a record of 49 wins and no losses against hand picked opponents. The latest being Berto, a fighter who was not very good at his best and was three and three in his last six bouts.

Ezzard Charles vs Rocky Marciano
Ezzard Charles vs Rocky Marciano

Julio Cesar Chavez was 49 and 0 in just the first three years of his career and went on to have 87 straight victories without a loss. I don’t remember any comparison being made with Rocky Marciano then.

Rocky, unlike Floyd, also took on the top contenders when he was champion and never ducked anyone.

Rocky Marciano was a great fighter who compiled his record in eight years while fighting some of the greatest fighters of all time. What made Rocky’s record unique is the fact he was and still is the only heavyweight champion to retire without ever having lost a professional fight. Gene Tunney retried as the undefeated heavyweight champ but did have one loss on his record from earlier in his career.

Rocky, unlike Floyd, also took on the top contenders when he was champion and never ducked anyone. He took pride in being the champion and it showed in the way he performed both inside of the ring and out of it. He beat three former heavyweight champions, two of them twice. He stopped one of the all time greatest light heavyweight champions. Rocky had the heart, the determination, and the pride that is sorely lacking in fighters like Floyd Mayweather.

Those who insist on making these nutty comparisons have no respect for the rich history of the Art of Boxing. They are grasping at straws when they are making these ridiculous arguments.

Just the other day I read where a noted boxing historian said Roy Jones Jr will go down as

LaMotta vs Robinson
LaMotta vs Robinson

the greatest middleweight champion of all time. That means he would be better than Sugar Ray Robinson, Harry Greb, Jake LaMotta, Emile Griffith, and dozens of others. This is beyond belief.

The hucksters and con men who run boxing today are bamboozling the public into believing they are watching real talent in the ring, and they are having success selling this. They bring on commentators claiming to be “boxing experts” and have them spout all kinds of drivel in order to make it seem like boxing has some connection with the great sport it once was. This is all done to dumb down the average boxing fan. These people have no shame what so ever. It is more true now than ever before that there is a sucker born every moment, and they seem to gravitate towards boxing.

 

James Montgomery To Appear At Jonathan’s

Ogunquit on November 6th

James Montgomery
James Montgomery

When blues legend James Montgomery plays the harmonica, he “brings it on home”. Whether it’s recording with Kid Rock, sitting in with Gregg Allman, or fronting his hot band of thirty years, Montgomery plays with authority. While growing up in Detroit he learned first-hand from the masters – James Cotton, John Lee Hooker, and Jr. Wells – at the legendary “Chessmate.” Over the years, he’s carried on in the tradition and continues to be a vital presence in Blues as one of the most dynamic performers on the scene.

James Montgomery and his band will be playing live at Jonathan’s Ogunquit on Friday, November 6, 2015 at 8:00 p.m.

In 1970, while attending Boston University, Montgomery formed the James Montgomery Band. His inimitable (oh yeah, he majored in English) harmonica playing combined with his incredibly energetic live shows led to the band’s quick ascension on the New England music scene. Within two years, the James Montgomery band was among the hottest acts in Boston along with J. Geils and Aerosmith, and they were quickly signed to a multi-album deal with Capricorn Records.

Montgomery has toured with many major artists, including Aerosmith, Bonnie Raitt, Bruce Springsteen, the Allman Brothers, Steve Miller and others. He has jammed on stage with B.B.King, Buddy Guy, John Lee Hooker, Jr. Wells, James Cotton, Charlie Daniels, Bonnie Raitt, Greg Allman, Laverne Baker, Patti LaBelle, and Peter Wolf among others, including an impromptu session with Mick Jagger at New York’s “Trax”
Over the years Montgomery’s band has been a springboard for many musicians. Members of his band have in

cluded Billy Squire, Wayne Kramer (MC-5), Jeff Golub (Rod Stewart), Jim McCarty (Mitch Ryder and the Detroit Wheels), Nunzio Signore Bo Diddley), Jeff Pevar (Ray Charles Orchestra, Crosby, Stills & Nash), Bobby Chouinard (drummer with Ted Nugent, Squire and Robert Gordon), Jeff Levine (Joe Cocker), Aerosmith’s Tom Gambel, and many others.

Back by popular demand, James Montgomery has become a regular at Jonathan’s Ogunquit. Coming up in the afternoon, grabbing dinner at Jonathan’s, playing some music and staying over in Ogunquit…They love the set up and so do their fans!
The James Montgomery Band will be playing live on Friday, November 6th, 2015 at 8:00 p.m. Tickets are available on line at http://tickets.jonathansrestaurant.com Tickets start at $22.50.

For more information about the concert please visit Jonathan’s Website.

Jonathan’s Restaurant is located at 92 Bourne Lane, Ogunquit, Maine.

Music Review: Jonathan Edwards

At The Center

For The Arts In Natick

September 26th

An Evening To Soothe The Soul

 

Jonathan Edwards
Jonathan Edwards

The program I was handed at the door as I entered the Center For The Arts In Natick read “In Concert, Jonathan Edwards”. I have seen Mr. Edwards perform on a number of occasions and I have never felt as if I was at a concert. Spending an evening with Jonathan is much more than that. Even though I am sitting in a performing arts venue I feel more like I have been invited into his home to share a night of music, stories, laughs, and warmth. Edwards has yet to disappoint me and the other night in Natick was no exception.

 

 

…there was never a dull moment.

From his opening song “Down In The Woods” until his closing encore two hours later with the Stephen Foster classic “Hard Times” there was never a dull moment. There were plenty of old favorites going back to his first album along with a nice taste from his latest and most personal work “Tomorrow’s Child” and many from in between.

 

Tomorrow's Child
Jonathan’s Latest Album “Tomorrow’s Child”

In two of his new songs we learn much about Jonathan. In the very touching “Jonny’s Come Home” Edwards talks about being given up for adoption shortly after his birth and of how he found his birth mother forty years later. It was a happy reunion. He and his 96 year old mother are still close. The song also tells of his own experience in giving up his daughter Brenda for adoption, “I never thought I’d had to do what was done to me.” They, too, reunited after years had passed.

 

If all of this is beginning to sound a bit sad, it isn’t at all. By listening to the songs and hearing Jonathan tell stories, and he is a wonderful storyteller, you understand why this was much more than a concert.

Edwards has yet to disappoint me and the other night in Natick was no exception.

Going back to his eponymous first album Mr. Edwards sang Emma, Sunshine, Don’t Cry Blue, and what is probably his best-known song Shanty. It is ironic that Shanty has become so well known seeing that it got no radio play when it first was released. The censors at the time had figured out what it meant “to get a good buzz on” and were not happy with it; however, the public loved it as did the audience in Natick putting their hands together upon hearing the first few notes on the mouth harp.

Jonathan is also terrific to listen to between songs. His stories are always so interesting, and he can be very funny. While struggling to get one of his guitars to rest in its stand he told it to stay put, he then quipped “The older we get the more inanimate objects need personalities.” And when introducing the song  Mole In The Ground he said “Now that is a title that really excites people.” The crowd loved it.

“The older we get the more inanimate objects need personalities.”

Gracie, from his new album, is a lovely song celebrating his second daughter. Grace is an accomplished musician in her own right and performs on occasion with her father. Talent definitely runs in the family. Sandy Girl is a foot tapping love song to the joy of Jon’s life and soon to be wife. I noticed that Sandy is a bit shy about having the song played in public, but it is also apparent how much in love she and Jonathan are.  Ain’t Got Time, Girl From the Canyon, Sailboat, The Beatles She Loves You, Evangeline, My Love Will Keep were also included in this wonderful evening.

Jon was accompanied by his “band” the extraordinary Tom Snow on keyboard.

 

Tom Snow
Tom’s Latest Album “Thomas Snow Friends”

Jon was accompanied by his “band” the extraordinary Tom Snow on grand piano, keyboard, and backup vocals. During Shanty they did a great dueling piano and guitar. They make it look easy and obviously love performing together. What a joy it is to see and hear such talent. These two elevate each other musically and get a great natural buzz playing together.

 

We are lucky to have Jonathan Edwards here in New England. He plays many nights, and if you haven’t yet seen him be sure to stop in the next time he is in your area. I can guarantee if you see him perform once you will go again and again. I got a good buzz on and didn’t even have to inhale.

For album information, concert dates, and lots of great information go to http://www.jonathanedwards.net

For info on Tom Snow and his album Tom Snow Friends go to http://tomsnow.com

Jonathan Edwards and Tom Snow Perform “Hard Times”

“Shanty” performed by Jonathan and Tom

The Real Rockys: A History of the Golden Age of Italian Americans in Boxing 1900-1955 by Rolando Vitale.

Reviewed by Mike Silver

You do not have to be Italian to enjoy The Real Rockys. In fact, you do not even have to be a boxing fan. Rolando Vitale has written a book that accurately describes a colorful and fascinating chapter of American immigrant history with emphasis on the tremendous contribution of Italian American boxers to the sport of boxing.

You do not have to be Italian to enjoy The Real Rockys. In fact, you do not even have to be a boxing fan.

The Real Rockys
The Real Rockys

Few boxing books have been so thoroughly researched and richly detailed. The author begins with a description of the origins of boxing that includes a historical overview of pugilistic activity in ancient Rome, continuing on to the Medieval and Renaissance period, and then to the large scale Italian immigration to America in the late nineteenth and early twentieth centuries. Some of the best parts of the book involve stories of the boxers’ family life and how the privations and poverty of their childhood motivated the drive to become a professional boxer.

The author also includes a description of the inter-racial boxing rivalries that were once so much a part of the sport during its golden age from the 1910s to the 1950s.

Few boxing books have been so thoroughly researched and richly detailed.

But the icing on the cake of this highly informative and lively written book are the 35 separate Appendices—183 pages in all—that are a treasure trove of information available nowhere else. Here is just a sampling: A breakdown and analyses of the most prominent ethnic American groups (Irish, Jewish, Italian, African) in the world’s top ten rankings (as per Ring magazine’s monthly ratings) across all weight categories 1924-1955; The results of head to head contests between Italian American and rival ethnic American boxers listed in the world’s top ten rankings 1924-1955; The names of every Italian, Irish, Jewish and African American champion from 1900 to 1955; A complete list of the nearly 400 title fights involving Italian American boxers; The names of hundreds of prominent Italian American prizefighters who fought using Irish or Anglicized names; Every Italian American Golden Gloves and National AAU amateur champion from 1900 to 1955; Post boxing occupations of the 51 Italian American world champions 1900-55 (including their father’s occupations); Also included are biographies of 50 great Italian boxers and the author’s picks for the top 100 Italian boxers who did not win a title. That is just a sampling. OK, you get the picture. This is a book that is both a historical document and a reference guide. It will be appreciated and enjoyed by anyone interested in learning about a unique and colorful aspect of American immigrant history but also savored by the serious and casual boxing fan. “The Real Rockys” deserves an honored space on every fight fan’s book shelf.

Boxing historian Mike Silver is the author of “The Arc of Boxing: The Rise and Decline of the Sweet Science”

 

SpeakEasy Stage Presents Casa Valentina

New England Premiere Runs From October 24 to November 28th

From October 24 to November 28, 2015, SpeakEasy Stage Company will proudly present the New England Premiere of CASA VALENTINA, a hilarious, provocative, and touching new play about gender identity, self-acceptance, and the struggle to find the right pumps.

A 2014 Tony Award nominee for Best Play, CASA VALENTINA is the most recent work by Tony Award-winner Harvey Fierstein

Based on actual events, CASA VALENTINA takes place in 1962 at a Catskills resort where a group of heterosexual men secretly gather to dress and behave like women. Away from their families, in their beehives and brassieres, these men enjoy a carefree camaraderie of cocktails and McGuire Sisters. But when challenged to publicly reveal their female alter-egos in the pursuit of political acceptance, “the sorority” must decide whether freedom is worth the risk of ruin.

 

Casa Valentina
Casa Valentina

A 2014 Tony Award nominee for Best Play, CASA VALENTINA is the most recent work by Tony Award-winner Harvey Fierstein, whose credits include the books for the hit musicals Kinky Boots, Newsies, La Cage aux Folles, and A Catered Affair as well as the play Torch Song Trilogy. As an actor Mr. Fierstein is known worldwide for his performances in films like Mrs. Doubtfire and Independence Day, and his stage work in Hairspray, Fiddler on the Roof, La Cage aux Folles, and Torch Song Trilogy.

Director Scott Edmiston returns to SpeakEasy having previously directed the company’s productions of Far from Heaven; The History BoysThe Light in the PiazzaFive by Tenn; Other Desert CitiesNext FallIn the Next Room (or the vibrator play)RecklessThe WomenThe Last Sunday in June; and The Most Fabulous Story Ever Told. He has directed more than 60 productions across New England and is the recipient of SpeakEasy’s Outstanding Artist Award, three Elliot Norton Awards, two IRNE Awards, the StageSource Theatre Hero Award, and the Norton Prize for Sustained Excellence in Theatre. He is a Professor of the Practice and Chair of the Theatre Department at Northeastern University.

For this New England Premiere production, Edmiston has assembled an impressive cast of veteran Boston actors, including Timothy Crowe, Thomas Derrah, Kerry A. Dowling, Deb Martin, Greg Maraio, Will McGarrahan, Sean McGuirk, Robert Saoud, and Eddie Shields.

       The design team consists of Edmiston’s frequent collaborators: Janie E. Howland (scenic), Gail Astrid Buckley (costumes), Karen Perlow (lighting), and Dewey Dellay (sound).

CASA VALENTINA will run for six weeks, from October 24 to November 28, in the Roberts Studio Theatre in the Stanford Calderwood Pavilion at the Boston Center for the Arts, 527 Tremont Street in Boston’s South End.

Ticket prices start at $25, with discounts for students, seniors, and persons age 25 and under.

For tickets or more information, the public is invited to call the box office at 617.933.8600 or visit www.SpeakEasyStage.com.

Why Boxing?

by Bobby Franklin

I have been around boxers all my life, and I’ve gotten to know hundreds of fighters and have spent quite a bit of time speaking with them, getting to know them, and making friendships with them. In the past couple of years as we have gotten older the conversations I have with them have become more reflective. One of my favorite topics is discussing what their motivation was for first stepping into a boxing gym. The answers vary, but I did seem to find a common theme among a number of them.

It is a violent world but also one of serenity.
Stillmans Gym New York
Stillmans Gym New York

Just about every other sport available to young men involves joining a team; Little League Baseball, Pop Warner Football, hockey, and so on. All, of these are good ways for youth to learn the lessons of working together, sharing responsibility, and being a part of something bigger than themselves. It also allows for the sharing in victories as well as failures. Sure, there are times when one player will get the glory for pulling out a victory for the team, or get the blame for blowing it (just ask Bill Buckner), but it still comes down to the team working together to make things happen. It is said over and over again that there is no “I” in team.

The emotions aroused, just as the sport itself, are primitive.

Boxing is very different, it is all about “I”. When a young man first walks into a boxing gym he knows he is not there to join a team. What he is going to have to do is confront himself. He is going to have to deal with his fears; his victories and his failures all on his own. If he losses a fight or even has a bad sparring session he will not be able to point the finger at a teammate. The thrill of victory and the agony of defeat are owned by the individual.

Alan Sillitoe wrote a book published in 1959 titled “The Loneliness of the Long Distance Runner”. I often think of how appropriate a similar title would be to describe a boxer; “The Loneliness of the Boxer”. When that bell rings and the lights go down and the boxer steps forward to face his opponent, there is no other sport that comes close to invoking the emotions that erupt within him. He moves forward with no team to look back on for help or support. He is in the ring with only two other people; his opponent who wants to knock him senseless and the referee who is on nobody’s side. This isn’t about moving the ball up the field or striking out a batter. This is comes down to the most basic of human instincts: survival.

A boxing gym is truly a paradoxical place.
5th Street Gym Miami
5th Street Gym Miami

Many of the guys I have talked to about their motives for taking up boxing told me they were shy kids who didn’t feel comfortable playing on a team. They felt insecure and wanted to face their fears. The boxing gym seemed like the best place to go for that. Just about every one of these former boxers have told me their lives were changed because of their experiences with boxing. That they learned more about themselves through the Manly Art of Self Defense than in any other activity they took part in.

A boxing gym is truly a paradoxical place. It is a venue where controlled violence is taught. the participants spend hours practicing moves and conditioning themselves so A may inflict head trauma on their opponents. It is a place where a young man will have to deal with his fear and his fight or flight response to it. Where he will inflict and feel pain.

But, the boxing gym is also oddly Zen like. Boxing forces a person to become self reflective, to look deep within himself, too confront his demons, and oddly enough, to find a certain inner peace. It is a violent world but also one of serenity. This may all sound a bit strange, but if you have been there you will know what I mean.

Stop The Presses! Boxer Wins Fight Using Left Jab!

by Bobby Franklin

Golovkin vs Lemieux
Golovkin vs Lemieux

The other night I witnessed further proof of just how far removed today’s boxing is from having any resemblance to the fine art it once was. It wasn’t so much the fight itself,though that did contribute greatly to my feelings, but more so to the reaction during and after.

The fight was the Gennady Golovkin vs David Lemieux Middleweight Title fight. I had debated whether or not to spend $50.00 (I had sworn never again to buy a pay per view fight) to view the bout as I do feel Golovkin is about the only fighter out there today who is worth watching. While contemplating my decision I watched some footage of Lemieux in action to see if I felt he would be at all competitive. It didn’t take long for me to realize that this was certainly not going to be a match worthy of spending money on. Lemieux is a tough, strong kid with almost no boxing ability. Watching him in action I could immediately see he had learned what he knew from spending hours hitting the punch mitts.

I could immediately see he had learned what he knew from spending hours hitting the punch mitts.

He threw his punches from his waist up and had no sense of footwork what- so-ever. He tossed shots in a very predictable one-two and one-two-three manner while pausing in between to regain his balance. He obviously would have no chance against GGG.

Early the following morning I watched a replay of the fight. It was, as I expected, a very one-sided affair. Golovkin utilized a decent left jab to keep Lemieux at pay and to punish him. David was at a complete loss in being able to cope with the jab. He did not know how to slip it. He did not know how to parry it. It was as if he had never dealt with the jab before. It was like a foreign language to him.
Listening to the commentators, you would have thought Gennady had invented a new punch. They were in awe of his phenomenal jab. They kept rattling off the number he had thrown during each round. They also repeatedly commented on how this amazing punch was keeping Lemieux confused and unable to launch an offense. Yes! Gennady Golovkin was actually throwing left jabs. Just amazing!

The incredulity continued on social media. Fans were stunned by this display of boxing prowess. The dominant left jab was something most of them had never seen before. What was once the most basic and important punch in boxing was now being talked about as if it were a secret weapon delivered to the Earth by aliens from another planet with a vastly superior intelligence to us. Shock waves rippled throughout the Blog-a-sphere. Is Golovkin really one of us or some super being from a galaxy far away?

Back when boxing was actually being taught as the serious art it once was the left jab was the first punch taught to aspiring boxers. Students were shown how it was both an offensive and defensive punch. How it was the key to landing any other punch.

“Hey kid, if you can’t land the jab you, you can’t land any other punch.”

“Hey kid, if you can’t land the jab you, you can’t land any other punch.” was a common line heard in boxing gyms. Great contender Tony Shucco used to tell me, “Hit ‘em with the left, they like it. Then every once in a while toss a right so they don’t get bored.” “Stick and Move.”, “Pepper him with the left.”, “Pop that jab out there.”, were other lines you would hear over and over again back in the day.

On the flip side, young boxers were also taught how to slip and parry the jab. As great a punch as the jab could be for setting up an opponent, it could also be the opening your foe could use to counter you. Timing the jab and then throwing a right cross over it is a very effective maneuver. It takes a lot of practice, and not the type of practice you get hitting the foolish punch pads. Another skill is slipping outside the jab and hooking to the body. This is a move rarely if ever seen today.

Another lost move is feinting the jab and then turning it into a hook. This is the tactic that was employed so effectively by Billy Conn in his first fight with Joe Louis. It almost won him the title.

Jabs also come in many different varieties. There is the tapping jab where a fighter doesn’t hit his opponent terribly hard, but he hits him repeatedly and frustrates him by keeping him off balance with it. Then there is the stiff armed jab that was used so well by Light Heavyweight Champion Bob Foster. Foster would snap his jab up from his waist and punch right through his opponents. It was a brutal punch that busted up many of his challengers.

Wepner vs Liston
Wepner vs Liston

It’s funny, but as I was contemplating this column a friend sent me a clip of the Chuck Wepner vs Sonny Liston fight. We had talked a bit about this whole madness over GGG using the jab, and my friend told me to take a look at Wepner in his losing fight with Liston. Yes, Wepner, the Bayonne Bleeder, the guy considered to have very few boxing skills was actually using a fairly effective left jab in this fight. It just goes to show that it wasn’t all that long ago that even the crudest boxers knew how to throw the jab. It would be interesting to see how Mr. Wepner’s jab would do against today’s unschooled heavyweights.

I am often criticized for pointing out the lack of boxing skills in today’s fighters. I don’t blame the boxers as they train hard, are in good shape, and are just following instructions. The problem lies in the fact that there are no good teachers out there. The techniques employed to develop these skills are not there either. Abel Sanchez, GGG’s trainer, appears to one of the only trainers left who has some sense of what skills a good boxer should have, and that is why Golovkin is such a standout. The fact that his use of the most basic punch in boxing is such big news only reinforces my opinion that boxing is a dying if not dead art.

Boxing’s Ten Greatest Quotes

 

by Mike Silver

No other sport has produced more memorable quotes or phrases than boxing. I am not referring to the many clever and colorful (and sometimes outrageous) statements uttered over the years by various boxing personalities. Mike Tyson’s obscene rants (obviously stated when he was off his meds) that included such gems as “I want to eat his children” or “I try to push the (nose) bone into the brain” do not qualify for this list. The winning quotes are those that have withstood the test of time and entered into the American lexicon. The following quotes fit these criteria. They have been used by journalists, politicians and people in all walks of life. Yet how many are aware that they emanate from the world of boxing? I’ve saved the best for last, so counting back from 10 to 1 here they are:

  1. “I Shoulda Stood In Bed”—Joe Jacobs (1935)

Joe Jacobs was the prototype of the fast talking cigar chomping fight manager.

Joe Jacobs with Max Schmeling
Joe Jacobs with Max Schmeling

Sportswriters loved him as he was always quick with a memorable quote delivered in a staccato New York accent. As described by author David Margolick, Jacobs was “the quintessential Broadway guy, a Damon Runyon character from whom even Damon Runyon, then writing a sports column for the Hearst newspapers, could pick up some pointers.” As a “Broadway guy” Joe invariably slept late but one of the few times he broke

with tradition was when he got out of a sickbed to attend the 1935 World Series between the Tigers and Cubs on a wet cold day in Detroit when the temperature was near freezing. When a reporter asked him about the experience he famously complained, “I shoulda stood in bed”, which is New Yorkese for “stayed in bed”. Shakespeare could not have said it any better.

Shakespeare could not have said it any better

9. “I’ll Moida Da Bum” – Tony Galento The squat 5’9’ 235 pound New Jerseyite with the sledgehammer left hook was one of the most colorful fighters of any era. “Two Ton” Tony was a crude beer guzzling brawler who often used these words to describe what he would do to a future opponent. He said it most

Tony Galento
Tony Galento

often when referring to heavyweight champion Joe Louis, who he challenged for the title in 1939. In an unusual fit of pique, Louis, angered by Tony’s incessant pre-fight trash talk, decided to punish him. Galento, a stubborn foe, did his best and even managed to drop Louis in the third round. After taking a short count Louis got up even angrier and battered Galento into a bloody hulk before knocking him out in the next round.

8. “We Wuz Robbed”—Joe Jacobs (1932)

Another gem from the irrepressible Joe Jacobs who regularly butchered the King’s English. He spoke the immortal words after heavyweight champion Max Schmeling (whom he managed) lost a controversial decision to Jack Sharkey.

7. “Only In America”—Don King (1975)

The phrase was appropriated by King in the early 70s. But a more accurate phrasing should be “Only in Boxing”. For only in the unregulated “red light district” of sports could a convicted killer and diabolically clever sociopath run roughshod over an entire sport and bring it down to his level.

  1. “The Bigger They Are the Harder They Fall”—Bob Fitzsimmons (1902)

The actual quote is: “The bigger they come the harder they fall.” It has been attributed to former heavyweight champion Robert Fitzsimmons in an interview in 1902, but it probably goes back farther than that. Fitzsimmons (heavyweight champion 1897-99) was one of the hardest punchers of all time. He weighed about 167 pounds in his prime and often beat heavier men, including a 300 pound opponent he flattened in the first round.

5.“Honey, I Forgot to Duck” Jack Dempsey (1926)

President Ronald Reagan was being wheeled into the operating room shortly after taking a bullet in the 1981 assassination attempt on his life. Still conscious, and amazingly maintaining his sense of humor, he looked up at his wife, Nancy, and told her: “Honey, I forgot to duck”. The President was referencing the line Jack Dempsey used to explain his defeat to his wife after he lost the heavyweight championship to Gene Tunney in 1926. Reagan was only 15 years old at the time but the phrase obviously made an impression on the young sports fan and future President of the United States.

4. “We Will Win Because We Are On God’s Side”—Joe Louis (1942)

Heavyweight champion Joe Louis, who had recently enlisted in the still segregated army, spoke these words at a March 1942 War Bond rally in front of 18,000 people in Madison

Joe Louis
Joe Louis

Square Garden. The great man’s words became a popular slogan and made its way into songs and posters.

3. “He Can Run But He Can’t Hide”—Joe Louis (1946)

Joe’s public comments were as compact and on target as his punches. He could say more in a few words than most people say in 100. On the eve of his rematch with Billy Conn a reporter asked Joe if his lighter and faster opponent’s speed would be a problem. Louis’s answer was prescient. He knocked Conn out in the eighth round.

2. “Float Like a Butterfly, Sting Like a Bee”—Cassius Clay (1963).

He did and he could!

  1. “I Coulda Been A Contender”—Marlon Brando (1954)

One of filmdom’s most famous lines. It was spoken by actor Marlon Brando in the classic

On The Waterfront
On The Waterfront

movie “On the Waterfront”. The words originated from an actual conversation screenwriter Budd Schulberg had with Roger Donoghue, a once promising welterweight who quit the ring after killing an opponent. Donoghue was hired to instruct Brando how to move and act like a former fighter. When Schulberg asked Donoghue if he could have been a champion, the fighter replied, “I don’t know, but I could have been a contender.”

Boxing historian Mike Silver is the author of The Arc of Boxing: The Rise and Decline of the Sweet Science (McFarland Publishing, paperback 2014).


 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

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Stage Review: Casa Valentina

Life Is Never Simple

by Bobby Franklin

Thomas Derrah and Kerry A. Dowling Photo Credit: Glenn Perry
Thomas Derrah and Kerry A. Dowling
Photo Credit: Glenn Perry

In the early 1960s small groups of heterosexual men would spend weekends at a bungalow camp in the Catskills called Casa Susanna. While there they would dress and act as women. They were not there to have sex parties, but rather to explore and experience their feminine inner selves and to be in an atmosphere where they felt safe and relaxed. A few years ago a collection of photographs from this retreat were discovered at a flea market and later published in a book. Playwright Harvey Fierstein was approached about making a play based on the happenings at Casa Susanna. He at first refused, but after looking further into the subject decided to move ahead with the project. It is fortunate he did and the result, Casa Valentina is now playing at the SpeakEasy Stage in Boston.

Okay, I can see some of my readers rolling their eyes and saying this has got to be too weird. Why would I spend money to see two hours of drag queens prancing around a stage? Well, I’ll tell you why.

First off this is a very funny play. I don’t remember seeing a play or movie where I wanted to remember so many one-liners since I last saw a Marx Brother’s movie. A number of them are from Oscar Wilde, but most are from the pen of Mr. Fierstein, and they are very, very funny.

While you are laughing you will also begin to see a very interesting story unfold filled with tension and a message of how almost nothing in life is simply black and white. The men who spend time at Casa Valentina are not drag queens.

The men who spend time at Casa Valentina are not drag queens.

The resort is run by Rita and George who are married. George, played by the wonderful Thomas Derrah, also spends time in his female persona Valentina. Kerry A. Dowling plays the part of Rita, a wig designer. The two met at her shop and instantly hit it off and married soon after. George’s dream was to open a place where cross dressing men could spend time together. They opened Casa Valentina in a run down bungalow across the street from a nudist camp in upstate New York.

They play is set in June of 1962 when a small group of men gather to dress and share time together. Jonthan (Greg Maraio) is a newcomer and it is also his first time going public with his other self Miranda. He is very nervous and arrives for dinner looking frumpy and disheveled. The others immediately accept the challenge to give him a makeover and the results are astounding.

Eddie Shields, Thomas Derrah, Robert Saoud Photo Credit: Glenn Perry
Eddie Shields, Thomas Derrah, Robert Saoud
Photo Credit: Glenn Perry

Things turn serious when Charlotte (Will McGarrahan) calls a meeting of the group and tries to convince them to go public with their lifestyle. She has in the past been arrested for what at the time was considered lewd behavior and is defiant. She also publishes a magazine on the subject of cross dressing . Charlotte and Valentina believe it is important for the public to know they are not “faggots”, and are really just normal men doing something they enjoy.

It is interesting that strong feelings of homophobia exist among some of the group

It is interesting that a fairly strong expression of homophobia exists among some of the group who want to exclude gays from being any part of their world. Charlotte tells the others that by going public they will open the door to the day when cross dressing will become as accepted as smoking in public while homosexuals are still hiding in the shadows. We can see how that all worked out.

Most in the group are not at all comfortable with having their names put out publicly, and with good reason. Most are married with families and have jobs. In the early 60s such a revelation would certainly be devastating for them. Given that context,  Charlotte’s request seems quite unreasonable. There is also much disagreement about the banning of gays. Terry (Sean McGuirk) who is one of the older members of the group tells of how she has been thankful for having gay friends because they are accepting of her, and she will in no way turn on them.

To further complicate matters, there is the issue of some pornographic photos that were addressed to George/Valentina but were confiscated by the postal authorities. We come to learn that these photos were meant for Amy (Timothy Crowe), a judge nearing retirement. Charlotte uses this information in an attempt to blackmail the judge and things then explode.

It is very interesting to observe “outsiders” debating how to be accepted by society while at the same time excluding and belittling others who have been shunned and persecuted. It shows that even those who are victims of hate are also very capable of being filled with hate themselves and hurting others.

The scene I found most disturbing is when the Judge’s daughter Eleanor (Deb Martin) arrives at Casa Valentina to retrieve her father’s clothing and wallet. The Judge has been taken to the hospital after realizing his private life was now going to be exposed. She is extremely angry and tears into Rita and George over the pain she and her family have suffered over the years because of her father’s behavior. Ms Martin does a wonderful job in conveying the pent up anger Eleanor is now unleashing, though Rita and George seem completed unaffected by it. They stand there emotionless through it all. Their Narcissism shields them from any feelings of empathy towards Eleanor.

Their Narcissism shields them from any feelings of empathy towards Eleanor.

There is so much more in this excellent play. Direction by Scott Edmiston is top shelf. Costumes, lighting, and set design are also terrific.

I highly recommend Casa Valentina. The one liners are worth the price of admission, but you will get much more than that from this thought provoking play.

Casa Valentina

The SpeakEasy Stage Company

Playing at the Stanford Calderwood Pavilion

527 Tremont Street, Boston

Through November 28th

617.933.8600

www.SpeakEasyStage.com

 

 

 

Stage Noir Comes To Hartford

Review: Rear Window at the Hartford Stage

by Bobby Franklin

Hal (Kevin Bacon), Thorwald (Robert Stanton), Mrs. Thorwald (Melinda Page Hamilton)
Hal (Kevin Bacon), Thorwald (Robert Stanton), Mrs. Thorwald (Melinda Page Hamilton)

Rear Window, now playing a sold out run at the Hartford Stage is not an adaptation of the Alfred Hitchcock movie. This version has been adapted for the stage by Keith Reddin from the original story by Cornell Woolrich. The leading chararcter, Hal Jeffries, played by Kevin Bacon, is much darker than the one in the movie. He is an alcoholic who is dealing with many demons that at times lend a dreamlike quality to the play.

I doubt there are many of you who do not know the story, so I will not go into detail other than to describe some of the differences. Instead of a beautiful girlfriend, Hal has Sam, a handsome young African American man who met Jeffries in a bar, though Hal claims not to remember the meeting. The homicide detective is now Lt. Boyne, a homophonic racist who immediately has it in for Sam. The back and forth between the two is not pleasant to watch.

Robert Stanton does a marvelous job of playing Thorwald, the man Hal believes has murdered his wife. He is a milquetoast guy married to an alcoholic woman in a relationship that has no chance of improving.

Sam (McKinley Belcher III) and Hal (Kevin Bacon)
Sam (McKinley Belcher III) and Hal (Kevin Bacon)

The actors in this production are all great, and there is no doubt it sold out before its first performance because of Kevin Bacon. But it is unfair to say this is a hit because of the big name on the marquee. Yes, Mr. Bacon is fantastic in the role, hobbling about on crutches, maneuvering around his flat in a wheelchair, and deducing that a crime has been committed all while he is either drunk or hung-over. The sexual tension between Hal and Sam is also slightly ambivalent as Jeffries has dreams of his former wife whom he confuses with the murdered Mrs. Thorwald, but there is no doubt where his desires truly lie.

The script by Keith Reddin, direction by Darko Tresnjak, and the amazing sets all stand on their own as reasons to see Rear Window.

The Hartford has made Film Noir into Stage Noir

The Hartford has made Film Noir into Stage Noir and the darkness and sultry moods play as well live as on the big screen. Seeing a mystery while already knowing the outcome, or at least thinking I did, is something I thought think would spoil the whole story, but midway through I was not sure I was going to see the same ending as in the movie. This had me moving more to the edge of my seat as the story progressed.

Thorwald (Robert Stanton)
Thorwald (Robert Stanton)

Now to the sets; I have been very impressed in the past by the extraordinary job the team at the Hartford Stage has done, but in this case they have far surpassed even their own high standards. Alexander Dodge has designed a stage that in just a couple of seconds transforms from Jeffries living room to a view into the courtyard where he can see into the windows of his neighbors. Walls disappear and reappear, rooms spin around so they can be seen into and then are neatly tucked back into place. It is just amazing to see. Lighting by York Kennedy and sound by Jane Shaw add so much to the mood of that hot August night in 1947 that I wanted to put my face in front of the one fan in Hal’s apartment to cool myself off. The sound and lights of the train passing outside the window add to the feel of living in a New York City tenement in the days before air conditioning was a household item. Looking at the side of the building with the occupants searching for ways to cool off reminded me of the George Bellows’ painting Cliff Dwellers.

My readers who are fight fans will appreciate how this story fits so well on a stage just as boxing is perfect for the television screen.

This run is sold out and I don’t know if it will move on to another theater or have any performances added at the Hartford. I would urge my readers to sign up to the Hartford Stage mailing list in order to have a chance at any tickets that become available.

Rear Window
Playing at The Hartford Stage
Through November 15th
www.hartfordstage.org
860-527-5151

White Christmas the Musical

Broadway’s Jeffry Denman and Joey Sorge to Star in the Ogunquit Playhouse Production of Irving Berlin’s White Christmas the Musical on Stage at the Historic Music Hall in Portsmouth, NH

Two Broadway veterans are slated to star in the upcoming Ogunquit Playhouse production of the beloved holiday classic White Christmas at the Music Hall in Portsmouth, December 9 to 20. Jeffry Denman will reprise his role as Phil Davis and Joey Sorge will play Bob Wallace in this heartwarming musical adaptation that features the book by David Ives and Paul Blake and seventeen Irving Berlin songs including “Blue Skies,” “I Love A Piano,” “How Deep Is the Ocean” and the perennial favorite, “White Christmas.”  The story follows the two World War II veterans whose successful song-and-dance act finds them following two beautiful singing sisters to Vermont in search of romance and to put on a Christmas show –but, will there be snow?

Jeffrey Denman
Jeffrey Denman

Jeffry Denman played Phil Davis in the world premiere, cast recording and original Broadway (Astaire Award nomination) casts of White Christmas and won an IRNE Award in 2007 for the Boston production. An accomplished director and choreographer as well, Jeffry choreographed the Ogunquit Playhouse productions of The Music Man and West Side Story and directed and choreographed Damn Yankees. On Broadway: The ProducersCatsDreamHow To Succeed. Encores: Face the Music, Of Thee I Sing. Off Broadway: YANK! (Drama Desk, Lortel, Callaway noms), PassionChildren of a Lesser GodThe Holiday Guys. TV/Film: Erotic Fire of the Unattainable, Law & Order, Nurse Jackie, PBS Great Performances. Regional: Kid Victory (Signature), Crazy for YouSpamalot (Ogunquit), Singin in the Rain (MUNY), Into the Woods (Baltimore Center Stage, Sacramento Music Circus).

Joey Sorge
Joey Sorge

Starring as Bob Wallace is Joey Sorge who recently played the lead in the Ogunquit production of Nice Work If You Can Get It and was part of its original Broadway cast with Matthew Broderick and Kelli O’Hara. On Broadway he also appeared in How To Succeed In Business Without Really Trying, The Drowsy Chaperone, Thoroughly Modern Millie and as Young Buddy in the 2001 revival of Follies. Sorge also starred in the Ogunquit Playhouse productions of Singin’ in the Rain and The Drowsy Chaperone. Off-Broadway: Sondheims’ Saturday Night (Second Stage) and Summer of ’42 (Variety Arts). National Tours include: Lord Evelyn Oakleigh in Anything Goes, the iconic Fonz in Happy Days – A New Musical, and Jimmy Smith in Thoroughly Modern Millie. He has been seen regionally in Victor, Victoria at TUTS, Animal Crackers at Williamstown, Grease at Papermill, Radio Girl at Goodspeed, and Marty at Huntington Theatre. His film credits include: New Year’s Eve, Valentine’s Day, Contradictions of The Heart, Providence, and Audrey. TV/Web:  “The Knick”, “Alphabet Boys,” “Person of Interest,” “Numb3rs,” “Commander in Chief” and the remake of “Night Stalker.”

Tickets are on sale now at The Music Hall by calling 603-436-2400, online at www.themusichall.org or visiting the box office at 28 Chestnut St, Portsmouth, New Hampshire.

Two Ton Tony Was No Bum

 

by Bobby Franklin

Had Louis On The Canvas, But That Was Not His Best Round

Classy Tony Galento
Classy Tony Galento

Two Ton Tony Galento was the only opponent Joe Louis ever really disliked. When Joe fought Max Schmeling his fury was based on his wanting to avenge his loss as he felt he would not be the true champion until he defeated the German who had previously knocked him out. He was also was representing the United States in a symbolic battle against the evils of Nazis Germany.

With Galento it was a very different case. Tony had repeatedly made disparaging comments about Joe, his most famous being “I’ll moider da bum.” The Brown Bomber did not take kindly to being called a bum. At one point during training Joe asked a reporter, “Why that little fat man keep calling me a bum?”

Today’s fans may not see what the big deal was in such comments being made, but in the era of Joe Louis fighters, showed respect for one another.

in the era of Joe Louis fighters, showed respect for one another.

Sure, there were plenty of colorful characters around back then, but they rarely launched personal attacks on their opponents. Their was a mutual respect that existed among those in the sport, and Louis felt Galento had stepped way over the line. This was the only time Joe entered the ring where he was angry at his opponent. He said he wanted to punish him. Even years later when both Joe and Tony appeared together on Curt Gowdy’s program “The Way It Was” to watch clips of and discuss the fight you could see Louis still didn’t care for Galento. He said on the program that he wanted to carry the New Jersey brawler for ten rounds before knocking him out in order to inflict damage on him first. So, why didn’t he?

Galento had a big mouth and was obnoxious in his comments before the bout, but he had the punch, heart, and skill, yes, I said skill, to give the champion a fight. Tony was  rated the number one contender for the title by Ring Magazine, and he had earned his shot with a winning streak of eleven straight fights against top contenders. Make no mistake about it, while he hardly looked the part of a great boxer with his rotund figure, he was very talented at fighting out of a crouch and counterpunching. He also had a lethal left hook that was instrumental in his scoring knockouts in 57 of his 80 victories. Tony was also one of the dirtiest fighters to enter the ring. He was well schooled in using his head, elbows, and thumbs.

On June 28, 1939 Joe and Tony entered the ring at Yankee Stadium. In front of a crowd of 34,852 they received their prefight instructions from referee Arthur Donovan. Even at this point Tony couldn’t resist acting up. There was a problem with the amount of Vaseline Galento had on his face, so the referee had his handlers wipe it off. Tony then reached over and rubbed his hand over Joe’s head. This only added to the champion’s anger.

At the bell for round one Galento came out of his corner in a very low crouch and was leaning to his right in order to be on the outside of Joe’s left jab. By doing this he was putting himself into Joe’s blind spot. It was a very good tactic as Joe was known to have some difficulty  with fighters who fought out of a crouch. Tony slipped the jab and landed some decent left hooks to Joe’s body. Joe was making the mistake of punching down at Tony instead of bending at the knees to get on an even plane with the challenger. At one point Galento slipped Louis’s jab and landed a solid left hook to Joe’s chin hurting him and driving the champion to the ropes. Joe looked a bit hurt but maintained his composure. Galento, emboldened by what he had accomplished, went after the champion and got a bit wild. The first round went to the challenger, and the crowd was very excited by what they had just witnessed.

Louis Drops Galento
Louis Drops Galento

In round two Tony was not crouching down as much and Joe was now bending his knees and finding the range. Tony had abandoned what was a good strategy and was now just bulling his way forward. He was also using his head and elbows on the inside. Joe dropped the challenger with a beautiful right left combination that would have knocked out many another man, but Tony was up at the count of two and still full of fight.

Galento Puts Louis On The Canvas
Galento Puts Louis On The Canvas

Round three was interesting for one reason. By now Galento had completely abandoned his crouch and counterpunch tactics and was standing straight up in front of the champion while throwing wild punches. He was hoping to get lucky and land the big one. Mid round, while Louis was throwing a left hook to the body, Tony landed a left hook to Louis’s head that caught the champion off balance. Louis went down more embarrassed than hurt and was up almost immediately. For the rest of the round he pummeled Tony. While this is the punch Galento will be remembered for, it was not nearly as damaging, other than to Joe’s pride, than the hook he landed in the first round. The hook in the opening round was an excellent counter punch that was executed with great skill. The knockdown blow was more of a lucky punch.

The End For Galento
The End For Galento

As the bell rang for round four it was now Joe’s turn to abandon his fight plan. No, he would not get wild, but he no longer was going to punish Tony for ten rounds before knocking him out. He was now going for the kill. I believe it was Max Baer who once said “Fear is looking across the ring at Joe Louis and knowing he wants to go home early.”

“Fear is looking across the ring at Joe Louis and knowing he wants to go home early.”

Well, Joe had decided it was time to go home, and if Galento had any sense he would have been scared, but Two Ton Tony came out ready to go down fighting. He took a horrific beating during the two minutes and twenty-nine seconds that elapsed until Arthur Donovan stepped in to stopped the carnage. Galento was beaten to a pulp and would receive forty stitches to his face after the bout.

In the post fight interview Joe Louis did not gloat. As much as he disliked Tony Galento, he praised his ability and called him a great fighter. Joe Louis was always the definition of class.

This fight will always be remembered for the fact that Galento dropped the great Joe Louis, but Tony’s greatest moments came in the first round when he had the champion hurt.


TEDDY’S MASTER CLASS

BY

MIKE SILVER

A note of thanks to the daughter of Teddy Atlas for convincing her father to get back to doing what he does best—teaching boxers the (lost) art of boxing. Seven weeks ago Atlas took over the training of Timothy Bradley and the results were nothing short of phenomenal. Bradley said it best in a pre-fight interview; “I finally have a real trainer”. Indeed! Bradley’s ninth round stoppage of Brandon Rios this past Saturday night had “old school” written all over it, complements of “old school” trainer Teddy Atlas. Bradley also stated that Atlas’s schooling taught him more about technique and strategy than ever before. Good for him—and good for boxing.

Bradley Atlas 1Atlas’s job was not easy. He had a willing student in Bradley but also a fighter who had been worn out in fights where the strategy was simply to outwork the opponent. Bradley had also made the mistake in the past of exercising with heavy weights to increase his strength and punching power. Of course this misguided approach did just the opposite by making him muscle bound and robbing him of his punching power. Bradley’s overdeveloped pecs and lats are very impressive if he was entered into a body building contest but he can barely dent an egg with his feather like punches. Nevertheless, Atlas recognized a desire by Bradley to do whatever was necessary to turn his boxing career around and was willing to work with him and achieve the desired results.

Trainers take note: Watch the tape of the Bradley vs. Rios fight over and over, including especially the instruction given to Bradley between rounds. What a delight to watch a boxer actually attempt to think and avoid punishment by using tried and true methods of the type that had been effective for almost a century but are virtually forgotten today.

Bradley Atlas 2Rios could have tried to counter Bradley’s hit and move strategy but he simply had no answers—and neither did his clueless corner men. Rios kept coming straight ahead and made no attempt at all to cut off the ring, or duck Bradley’s counter punches, or throw more jabs in an attempt to disrupt his rhythm. The pitiful instructions (or lack thereof) he received was typical. In between rounds the microphone picked up Rios’s trainers telling him to “throw more punches…throw faster punches” and of course the oft heard expletive laced “what the f…k are you waiting for!….c’mon go for it!” That’s it. No strategic advice was given at any time. Not even at the basest level. Why are such people even allowed into the corner? Why isn’t there some sort of licensing procedure to make sure trainers have at least a minimum of boxing knowledge. It is so disheartening to see how dumbed down this sport has become.

Teddy Timothy CornerCompare the above to a sampling of Atlas’s instructions to Bradley between rounds: “Control the outside and don’t stay in one place too long…use your jab and move to your left and then move to the right and set something up…catch him as he comes in and don’t drop your hands…move off to the side after landing your jab..” Atlas kept reminding Bradley to “control the geography of the ring” (meaning use footwork). Obviously these basic boxing moves had been practiced over and over throughout their training sessions. Another move involved Bradley stepping to his left after landing a jab and quickly landing a left uppercut to Rios’s midsection. His incessant body punching eventually brought Rios to his knees in the ninth round and he was counted out. (If Bradley had more power this fight would have ended much earlier). It is worth noting that over 50% of Bradley’s punches were aimed at Rios’s mid-section. This was a common practice among the top fighters of decades past but is virtually unheard of today.

Over the past 20 years, for a variety of reasons, (see the author’s book “The Arc of Boxing” for a full explanation) boxing technique has fallen to its lowest level in over 100 years. Defense has become a lost art along with so much else that is missing at virtually every level. That is why Bradley’s new evasive style, mobile footwork, body punches and his effective and intelligent use of the left jab was like a dose of fresh air—at least to those who can recognize such things.
Perhaps I am being overly optimistic, but are we seeing a trend developing here? Last month we saw two rare demonstrations of some old school boxing skills. First flyweight champion Roman “Chocolatito” Gonzalez gave a wonderful display of effective aggression while chalking up his 44th straight victory. On the same night Gennady Golovkin, the true middleweight champion, showed how effective a left jab can be when used properly to set up power punches and eventually wear down a tough and determined opponent. (see article on this site: “Stop The Presses! Boxer Wins Fight Using Left Jab!”

Years ago these talented boxers would be considered excellent prospects because they would be competing in a much tougher environment, but today their use of solid but basic boxing techniques makes them stand head and shoulders above a very mediocre field of contenders.
Let’s hope that other boxers and trainers begin to understand that boxing is an art—the art of self-defense. This will not only result in more interesting matches but will make a dangerous sport safer. Two boxers moving toward each other like two trucks in a mindless demolition derby is not boxing.

Mike Silver is the author of “The Arc of Boxing: The Rise and Decline of the Sweet Science” (2014, paperback, McFarland Publishers).

But Can He Take A Punch?

A Young Cassius Clay Answered

That Question Early In His Career

by Bobby Franklin

When Cassius Clay exploded on the professional boxing scene after winning a gold medal at the 1960 Olympic games in 1960, the public knew they were witnessing the rise of not just a very talented young boxer but also seeing a figure who was going to make boxing interesting and colorful again. This was in his pre Black Muslim days when he was known for his braggadocio rather than his political views.

Young Cassius had watched how professional wrestlers would attract crowds by putting on a show before the matches. They would brag about what they were going to do to their opponents, and in the case of one who had a particular influence on Clay, Gorgeous George would talk about how pretty he was. Cassius, with his outgoing personality, good looks, and gift of gab was a natural for this approach. It also didn’t hurt that he was an extremely talented boxer.

Of course, this bragging didn’t sit well with all boxing fans. Some did, as he knew would happen, pay to see him get beaten. They felt the loudmouth deserved to have his big trap shut by a knockout blow.

Another thing that irked those rooting against him was the fact that he moved fast and was very difficult to hit with a solid shot. Cassius played on that as well by saying

“I am just too pretty to be hit.”

Those who wanted to see him take a licking came to believe that if he was finally tagged he would not be able to take a punch, and that he really wasn’t tough enough to deal with being in a serious slugfest. They questioned his heart. If only an opponent could reach his jaw this big mouth would be finished. He was just talk but would never be able to back it up in a real fight.

This question about Clay’s ability to take a punch lingered for years, but he proved his mettle in only his 11th fight against the hard punching Sonny Banks. Not only could he take a punch, but he also showed he could fire right back when hurt.

Sonny Banks came into the fight with a record of 10 wins and 2 losses with 10 his wins coming via knockout. He was another young prospect and, even this early in his career, was known for his punching power.

The two met on February 10, 1962 at Madison Square Garden in a ten round main event. Clay had predicted he would stop Banks in the 4th round, but the fight almost ended much earlier then that and not in Clay’s favor.

In the opening round Cassius came out dancing. He was circling Banks and throwing jabs. As was his usual form, Clay had his hands down and was avoiding punches by moving his head and staying mobile.

Banks Drops Clay
Banks Drops Clay

Not long into the round Cassius back Sonny into a corner. Clay squared up with Banks and Banks fired a solid left hook that caught Clay flush on the jaw dropping him. It was a sold punch and Cassius went down on his back. It should also be mentioned that shortly before the hook was landed Clay was also on the receiving end of a solid right hand.

It can be argued that Clay went down because he was somewhat off balance when he was hit, but make no mistake about it, this was a hard left hook to the jaw.

So, how did Clay react now that he had finally been tagged? He got to his feet at the count of two. He took the mandatory 8 count and then he changed his style. There was no quit in him at all, quite the contrary. When the action resumed Clay steadied down and began throwing very hard shots at Banks. Sure, he was still circling, but he was more flat footed now and throwing hard punches with great accuracy. He was also throwing them with tremendous speed. He was angry that he had been decked and was now taking that anger out on Sonny.

Clay Stops Banks
Clay Stops Banks

In the second round he dropped Banks with a lightening fast right/left combination. He then battered him constantly and referee Ruby Goldstein was about to step in and stop the bout when the bell rang ending the third round. The doctor was called in to examine Banks before the start of the fourth and allowed the fight to continue. It didn’t last much longer as Cassius unloaded a fusillade of punches causing Goldstein to jump in and stop the fight at 26 seconds of the round.

For those paying attention at the time, they would have seen a number of things in young Cassius that had champion written all over them. He was able to take a great shot to the chin and survive it, and not only survive but not even be flustered by it. His first thought when hitting the canvas was to get right back up again and get back into the fight. He also showed the heart of a champion by fighting back with an intense fury. He adapted his game plan and would not be hit another good shot for the remainder of the bout.

Any talk about Cassius Clay’s heart and ability to take a punch should have ended that night in Madison Square Garden, but many were so blinded by their dislike of the brash youngster they would not give him the credit he earned in that fight. He would go on to prove the critics wrong time and time again.

Looking back on that February night in 1962 I would say Cassius answered his critics and the smart money should have been on him after that.

The President Boxer

The President Boxer

If there ever was an individual with the wherewithal, honesty and courage to clean up professional boxing that man would have been Theodore Roosevelt.

by Mike Silver

No U.S. President, past or present, was more associated with the “sweet science” than Theodore Roosevelt.

No U.S. President, past or present, was more associated with the “sweet science” than Theodore Roosevelt. It was not by accident that T.R. developed his interest in boxing. In Roosevelt’s formative years young men from the best families practiced the manly art. In the late 1800s amateur boxing “in gentlemanly fashion” (fought with gloves under Queensberry rules) was included in the athletic programs of Harvard and Yale. (Both institutions were among a handful of colleges that offered boxing instruction to their students). The future President boxed as a 135 pound lightweight while attending Harvard. He entered several tournaments, and though only moderately successful, his courage and tenacity was admired by his classmates.

Teddy Roosevelt at Harvard
Teddy Roosevelt at Harvard

During one tournament match he was hit hard by his opponent just after the referee yelled “time”. The crowd hissed and shouted “Foul, foul!” Roosevelt is supposed to have cried out “Hush! He didn’t hear.” Years later, during his campaign for the Presidency, his supporters would frequently reference the incident as an example of his extraordinary character.
In his junior year at Harvard (1879) T.R. fought for the university cup against a senior and was “severely punished” according to the New York Times. The Times often reported on the athletic exploits of Ivy League athletes as these schools were considered incubators for the future economic, social and political leaders of America. His opponent was two or three inches taller and had a much longer reach. “When time was called after the last round,” one spectator recalled, “his face was dashed with blood and he was much winded; but his spirit did not flag, and if there had been another round, he would have gone into it with undiminished determination.”

T.R. was at best a fair boxer and athlete, but he loved boxing, and was a steadfast supporter of the sport as long as it remained free of gambling and corruption. In 1896, while serving as police commissioner of New York City, Roosevelt endorsed a bill that legalized boxing in the state. He believed that under the right circumstances boxing had value as a “vigorous healthful sport that develops courage, keenness of mind, quickness of eye, and a spirit of combativeness that fits every boy who engages in it for the daily tasks that confront him.” But the professional side of the sport remained a problem for him. In 1899, during his term as New York’s Governor, boxing was rocked by a number of major betting scandals and fixed fights. The following year he reluctantly signed a bill outlawing professional prizefighting in New York State. (The ban lasted four years).

TR Sparring with Mike Donovan
TR Sparring with Mike Donovan

Roosevelt’s interest in athletics, and specifically boxing, was the result of a lifelong pursuit of what he called “The Strenuous Life.” TR exercised daily and was constantly challenging himself to do better. His favorite sports were boxing, tennis, hiking, rowing, polo and horseback riding. He greatly admired boxers and formed friendships with John L. Sullivan, Bob Fitzsimmons, Battling Nelson and Mike Donovan. Even while occupying the White House (1901-1909) Roosevelt enjoyed boxing with an array of sparring partners, including former professionals, several times each week. By then the President was a full-fledged heavyweight, weighing around 190 pounds

.
During a sparring session with a military aide Roosevelt took a hard punch to his left eye. He gradually lost sight in the damaged orb, but that information was not made public until many years later. Although the injury failed to dampen his enthusiasm for boxing he thereafter confined his physical jousts to practicing judo, attaining a third degree brown belt.

Of all the fighters Roosevelt knew he was closest to Sullivan

Of all the fighters Roosevelt knew he was closest to Sullivan, who reigned as heavyweight champion from 1882 to 1892. They first met in the mid-1890s when TR was a crusading police commissioner in New York City. Sullivan had retired in 1892 after losing the title to James J. Corbett, but the public’s adulation for “The Great John L.” endured well after his last bout. During that time he earned his living as a professional entertainer and temperance lecturer.

The Patrician Roosevelt and the roughhewn Sullivan, an Irish-American from an urban, working class background, formed a sort of mutual admiration society based on their common interests. They were the same age, and as noted by Sullivan biographer Michael T. Isenberg, “Each worshipped the shrine of masculinity and had, in his different way, been a missionary of the strenuous life; each was his own brass band.”

TR BoxingRoosevelt’s friendship with Sullivan remained strong during and after his Presidency. In later years Sullivan was a frequent guest at Roosevelt’s Sagamore Hill Estate. Both of these fascinating and charismatic individuals were perfect symbols of their era. Energetic, confident, assertive and occasionally reckless their colorful personalities embodied the qualities of a country ascending to greatness at the turn of the last century.

The 25th President of the United States would have made a wonderful boxing commissioner but after his “Rough Rider” campaign in Cuba during the Spanish-American War of 1898 bigger and more important responsibilities awaited him. But if there ever was an individual with the wherewithal, honesty and courage to clean up professional boxing that man would have been Theodore Roosevelt.

Mike Silver is the author of “The Arc of Boxing: The Rise and Decline of the Sweet Science” (McFarland Publishers, paperback 2014).

RINGING IN THE HOLIDAY SEASON WITH TRINITY REP’S A CHRISTMAS CAROL

Storybook London comes to life| November 7- December 31

PROVIDENCE, RI: Trinity Rep announces its annual presentation of Charles Dickens’ A Christmas Carol, directed by Curt Columbus, and featuring resident acting company member Stephen Berenson as Scrooge. Performances run November 7 through December 31. Tickets are on sale now and by phone at (401) 351-4242, online at www.trinityrep.com, or in person at the theater’s box office at 201 Washington St. A Christmas Carol is presented by Cardi’s Furniture with supporting sponsor Amica Insurance.

Stephen Berenson as Ebenezer Scrooge
Stephen Berenson as Ebenezer Scrooge

A timeless tale of forgiveness and hope enjoyed by generations of New Englanders, this holiday favorite earns rave reviews from audiences and critics year after year. The Boston Globe praises the annual tradition saying, “There is no better Carol than the one that Trinity Repertory Company puts on every Christmas season.”
“A Christmas Carol is a story of compassion, generosity and possibility, which are all part of the holiday spirit,” remarks director Curt Columbus. “It simply would not be Christmas in Rhode Island without this show, and sharing it with the community every year is our way of celebrating the season with our neighbors.”

Stephen Berenson as Ebenezer Scrooge with Rachael Warren and Joshua Lomeli as solicitors for the poor
Stephen Berenson as Ebenezer Scrooge with Rachael Warren and Joshua Lomeli as solicitors for the poor

This year’s Carol features many Trinity Rep resident acting company favorites including Stephen Berenson, Janice Duclos, Phyllis Kay, Brian McEleney, Anne Scurria, Fred Sullivan, Jr., Stephen Thorne and Rachael Warren; guest actors Adrian Blount and Whitney White; and Brown/Trinity Rep MFA actors Dennis Kozee, Joshua Lomeli, and Kyle Vincent Terry.
Trinity Rep also welcomes twelve talented local children, ages 8-12, to the stage. One hundred fifty child actors auditioned and the rotating cast includes: Damola Adebayo of Providence, Calista Aguinado of Warwick, Lillian Johnson of Johnson, Thomas Fitzgerald of Warwick, Gustavo Londono of Cranston, Laurel McMahon of
Warwick, Amaryllis Miller of Cranston, Bobby Miller of Cranston, Antonio Ross of North Providence, Ronin Scott of Warwick, Billy Stockton of Johnston, and Delaney Wilson of Berkeley, MA.

Kyle Vincent Terry as Fred, Whitney White as Lucy, Adrian Blount as Sister-in-law and Dennis Kozee as Topper
Kyle Vincent Terry as Fred, Whitney White as Lucy, Adrian Blount as Sister-in-law and Dennis Kozee as Topper

The design team includes Michael Rice (music direction), Shura Baryshnikov (choreography), Deb O (set design), Toni Spadafora (costume design), Josh Epstein (lighting design), Peter Sasha Hurowitz (sound design) and Aaron Rhyne and John Narun (projection design).
Curt Columbus became Trinity Repertory Company’s fifth artistic director in January 2006. He is also the artistic director of the Brown/Trinity MFA programs in Acting and Directing. Trinity Rep directing credits include Middletown, Vanya and Sonia and Masha and Spike, The Merchant of Venice, His Girl Friday, Camelot,
Cabaret, The Odd Couple, The Secret Rapture, The Receptionist, Memory House, Blithe Spirit, A Christmas
Carol, Cherry Orchard and the world premieres of The Completely Fictional, Utterly True, Final Strange Tale of Edgar Allen Poe and Social Creatures. Trinity Rep has been home to the world premieres of three of his
plays, Paris by Night, The Dreams of Antigone, and Sparrow Grass. Trinity has also produced his translations of Chekhov’s The Cherry Orchard and Ivanov, as well as Georges Feydeau’s A Flea in Her Ear.

Whitney White as Ghost of Christmas Past
Whitney White as Ghost of Christmas Past

Prior to coming to Trinity, Curt lived and worked in the Chicago theater scene for almost twenty years. He was artistic associate of Victory Gardens Theater from 1989-1994, the director of the University of Chicago’s University Theater from 1994-2000, and the associate artistic director of Chicago’s Steppenwolf Theater Company from 2000-2005, where he premiered his translations of Chekhov’s Uncle Vanya and The Cherry Orchard, and Elsa Bernstein’s Maria Arndt.

Curt’s adaptation of Dostoevsky’s Crime and Punishment (with Marilyn Campbell) has won awards and accolades at theaters around the United States, the United Kingdom and Australia. His translation of Chekhov’s Three Sisters, developed at the Arden Theatre in Philadelphia, was published by Dramatists Play Service, as was his play, Sparrow Grass, and his translation/adaptation of Ivanov.

Photo Credit: Mark Turek

Quarry Defeats Klitschko And Fury On The Same Night

Jerry Doesn’t Break A Sweat

by Bobby Franklin

Now that November’s Fury vs Klitschko so called heavyweight title fight is history I thought most fight fans would have finally accepted the fact that neither of these guys know how to fight. They don’t even have the basics down. Well, it turns out I was mistaken. If I can believe what I read on the various on line boxing sites there still is a very large number of self described boxing experts who believe Wladimir and Tyson should be ranked among the best of all time. The most common reason cited is their size. Typical of the comments you will read is “Sure, guys like Dempsey, Louis, and Marciano were good in their day, but they were way too small to stand up to the giants that dominate the division today.”

Quarry Lands jab On Foster
Quarry Lands jab On Foster

I have already written about that fight, and I still stand behind my statement that it was the worst heavyweight title fight in history, and that there was not a single former champion from Holmes going back to Sullivan who would have lost to either Fury or Klitschko. There are many who have voiced disagreement with me. What I would like to do with this column is ask my readers to go back not too many years and examine a fighter who never won the title, but one who had a number of victories over opponents bigger than he was and who were murderous punchers. You can watch many of these fights on Youtube. Set emotion aside and take some time to examine Jerry Quarry in these fights. After doing so, watch a replay of the Wlad vs Tyson fight. If you still believe either of these guys could have beaten Jerry send me a case of whatever you are drinking.

 

Jerry Destroys Shavers
Jerry Destroys Shavers

Many believe Jerry Quarry’s best night was his one round knock out win over the murderous punching Earnie Shavers. Jerry was beautiful that night in Madison Square Garden and completely demolished Shavers in a little over two minutes. Earnie entered the ring riding a 33 fight win streak with all but one of those victories coming via knockout. This was a stunning and outstanding win for Jerry, but it was not some fluke. Quarry took on and defeated many other great punchers.

The other two fights to watch are Jerry’s bouts against Mac Foster and Ron Lyle. Foster was undefeated in 24 bouts with all his victories coming via knockout whle Lyle also had an unblemished record of 19 straight wins with 17 knockouts. Both were fearsome punchers who had a hundred times the ability and skill of Fury and Klitschko.

Watching both of these fights you will see Jerry performing as the consummate boxer/puncher. He is cool and methodical as he calmly slips the bombs being tossed at him by both of these opponents. He pivots and throws left hooks to the body in order to get his foes to lower their guards. In the case of Foster he is able to stop him in the sixth round. Against Lyle he handily wins a decision. By the way, both of these men were bigger than Jerry.

Quarry Drops Patterson
Quarry Drops Patterson

Jerry was a brilliant counter puncher who could fight off the ropes. He dropped Floyd Patterson four times in two fights with at least two of those knockdowns being the result of counterpunches thrown while Quarry had his back to the ropes.

Jerry could move on his feet, feint, had terrific head movement, work both the body and the head, and he was able to set traps to ensnare his opponents. The modern day boxing fan might not recognize a lot of this when watching film of these fights. The reason for this lack of understanding involves a few things. First, very few if any fighters today know how to do any of these moves, never mind having a full repertoire in their arsenals, so today’s fans have never seen these things. Two, the commentators, with some exceptions, do not know what these moves are so would be unable to point them out even if they were happening. And three, today’s trainers do not know enough to teach these techniques. This is wildly evident when watching Klitschko and Fury. They do not even have the basics down.

So, let’s transport Jerry Quarry to the present day and have him step into the ring with Wlad and Tyson. In the case of Klitschko, the former champ would come out standing straight up in that very tight wide stance which is all he knows. He would begin pawing with his ponderous jab. At first Jerry would probably be hesitant thinking that he is being lured into some sort of a trap. He would soon figure out what was going on because when he feints Wlad he would see him flinch and close his eyes. After that the end would come quickly as Jerry would slip the jab and land monstrous left hooks to the body that would double Dr. Hammer up. At that point Jerry would easily finish him off.

Having now ended his match against Klitschko, the promoters could immediately bring Tyson Fury into the ring. After a brief introduction the bell would ring for the first round. Fury may last a little longer as he would begin running as fast as he could while the sound of the bell is still lingering in the crowd’s ears. This fight would end in one of two ways. Either Fury is counted out after being hit by the first blows Jerry lands, or he is disqualified for turning his back and attempting to turn a boxing match into a 10K road race.

I am not trying to be sarcastic here as I have no doubt this is what would happen. Jerry Quarry was a top fighter in an era of great fighters. He was a complete professional who had spent years learning and perfecting his craft. Letting him step into the ring against any of today’s heavyweights, and I don’t care how big they are, could be considered a criminal act because Jerry would be bringing in a full arsenal against unarmed men.

If you want to see a fighter who knows his craft don’t waste your time watching the current crop of contenders, check out Jerry Quarry performing his craft. That boy could fight!

A Beautiful Violet Grows At The SpeakEasy

 

“Violet” At The Calderwood Pavilion, Boston

Reviewed by Bobby Franklin

My review of the SpeakEasy Stage Company’s production of “Violet” could be summed up in just three words: See this play.

Flick, Violet, and Monty
Flick, Violet, and Monty

Violet, which premiered off Broadway in 1997 originally got mixed reviews, but fortunately survived and went on to play Broadway. This Boston run is being directed by Paul Daigneault who is taking it on for the second time, it played the SpeakEasy in 2000, and he has done a masterful job. Along with a remarkable score composed by Jeanine Tesori with lyrics by Brian Crawley and a first rate cast led by Alison McCartan who’s Violet is near perfect.

Violet and Young Violet
Violet and Young Violet

Set in 1964, it is the story of Violet, a young woman who has a severe facial scar that resulted from a tragic accident when she was a child. She has gathered together enough money to take a bus trip from her home in Spruce Pine, North Carolina to Tulsa, Oklahoma where she believes a faith healer can remove her scar and the emotional pain that goes with it.

Along the way she befriends a number of people including two soldiers, Flick and Monty, who both come to care for her very much. There are also scenes that occur during the performance of the young Violet, played with amazing depth by Audree Hedequist, and her father played by Michael Mendiola in a role filled with emotion that seems made to order for him. The two are beautiful to watch together and give the audience insight into how Violet’s strength was developed.

It would have been so easy for this play to have fallen into the story of a bitter young woman who is mad at the world for the bad hand she has been dealt, and the people who look at her and feel pity for her, but that is not how it goes.

Adult Violet & Father
Adult Violet & Father

Violet is tough and smart. Yes, she is angry and hurt, but at no time did I feel pity for her. I was sympathetic towards her, but I also recognized the amazing strength of her character. Flick does as well. Her father did a remarkable job giving her the tools to enable her to deal with life, which is conveyed in the number “Luck of the Draw”. The people Violet encounters on her trip learn as much from her as she does from them.

The musical score is breathtaking covering many genres including gospel, folk, rock, and country. It is hard to believe one composer could master so many different types of music. While all the numbers are outstanding I do have to make mention of “Let It Sing” performed by Dan Belnavis as Flick. His incredible voice fills the theater with emotion.

John King as Preacher
John King as Preacher

I would also note that the scenes with the faith healing preacher are played just right by John F. King who did not slip into parody, which would have been easy to do, but instead showed the human qualities of the man without diminishing him. It was not easy to do, but Mr. King got it right.

Again, see this play, you will not be disappointed. Violet will move you, touch you, and make you want to Let It Sing! What you see and hear will stay with you long after you experience this amazing production. Theatre is alive and well in Boston thanks to the SpeakEasy Production Company.

Photo Credit: Glenn Perry

Violet, playing through February 6th at the Stanford Calderwood Pavilion, 527 Tremont St., Boston.617.933.8600

www.BostonTheatreScene.com


 

 

 

 

The White Chip, A Very Funny Play About A Very Serious Subject

 

At The Merrimack Repertory Theatre, Lowell Through January 31st

Directed by Sheryl Kaller

Reviewed by Bobby Franklin

Actor #2 (Isabel Keating), Sean Daniels (Jeffrey Binder), Actor #1 (Benjamin Evett)
Actor #2 (Isabel Keating), Sean Daniels (Jeffrey Binder), Actor #1 (Benjamin Evett)

“The White Chip” now playing at the Merrimack Repertory Theatre in Lowell is an important work. Written by Sean Daniels, MRT’s Artistic Director, it is a no holds barred look at Sean’s painful struggle with addiction. In it he tells the story of how he practically ruined his life, his relationships, and his health because of the hold alcohol had on him. In the play the audience witnesses Sean’s tragic life as we see the disease progress and tear him apart, and while we are watching this tale of self destruction we are many times laughing to the point of tears. I know, it sounds a bit strange.

The cast is led by Jeffrey Binder as Sean who is superb in a role that takes incredible emotional stamina. Within minutes he has formed a bond with the audience who now become immersed in his life story. Mr. Binder is fluid on the stage and his face takes on the years of abuse as the play and his alcoholism progresses. This is not done with makeup.

Isabel Keating, Benjamin Evett, Jeffrey Binder
Isabel Keating, Benjamin Evett, Jeffrey Binder

Benjamin Evett and Isabel Keating are listed in the program as Actor #1 and Actor #2 as they play multiple roles and slip in and out of their various characters without missing a beat. Having seen Mr. Evett perform many times before, I was not surprised at this as he is one of the areas top actors. This was my introduction to Ms Keating and to say I was impressed would be an understatement. It wonderful to watch such talented actors switch from character to character at the drop of a hat.

The title refers to the white chip, or token, that is given to people when they first attend a Twelve Step Program. It is in recognition of their taking the first step towards recovery. Unfortunately, Sean has amassed a large amount of these chips over the years as he has relapsed time and time again, with each new round of drinking dragging him further and further down towards that black hole. Along the way he learns better and better ways to hide his drinking from others, how to lie to himself, and how to avoid responsibilities, but eventually his life starts to completely unravel. Much will be familiar to those who have or know someone who has dealt with this awful disease.

Sean and Bartender
Sean and Bartender

Okay, so you must be wondering why I said this is a funny play. It sounds pretty dreadful, and it is. The great thing about “The White Chip” is how Daniels has filled it with so much laughter. There are jokes about his Mormon upbringing, his embarrassing escapades while on a bender, his relationship with his mother, who also is an alcoholic, and his meeting with the Jews where he is finally able to make some sense of things. Who would have thought such a thing?. There is wonderful banter among all the characters as they move about the stage engaged in quick-witted exchanges. There are projections onto two screens with cartoon like characterizations of the embarrassing escapades Sean has embarked on while drunk as well as graphics listing the pros and cons of his behavior. Mr. Evett is particularly impressive when he plays Sean’s father who is diagnosed with Parkinson’s disease. Many of these scenes are heartbreaking and touching.

If this play weren’t funny it would be unbearable to watch.

And that is what is so wonderful about it. By allowing his audience the release through the comedy Mr. Daniels is able to tell his story of just how terrible his struggle has been, and of how so many people are dealing with the same battle. It is a battle to overcome the shame and ask for help. It is not only a play for those who have or are struggling with addiction, but a story that should be seen by all people so they will begin to realize the stigma associated with addiction is cruel and uncalled for. The way to help people is to allow them to step away from the shame and know they will be able to reach out for help without being branded as weak and lacking in character.

In the program notes Sean Daniels expresses something that has to be a first for an artist. About “The White Chip” he writes “And I do hope that no one produces it in ten years because it feels incredibly outdated-because we have no more silent deaths.” As much as I enjoyed this play and urge people to see it, I have to agree with him.

“The White Chip” playing at the Merrimack Repertory Theatre, Lowell, MA through January 31st . Box Office: 978.654.4678

MRT.0rg

Photo Credit: Merrimack Repertory Theatre

 

Blood On Their, And Our Hands

The Continuing Tragedy Of Magomed Abdusalamov

by Bobby Franklin

To most boxing fans the events of November 2, 2013 are a distant and faded memory. Those who watched the Mike Perez vs Magomed Abdusalamov bout on HBO that evening will remember that it was a brutal fight and that Mago, as Abdusalamov is more often referred to, took a brutal beating. They also may recall that after the bout the courageous heavyweight lapsed into a coma. The tragedy of that evening was in the news for a very short time, and boxing continued as usual without missing a beat. There was very little outcry about this. Nothing like the days when, in a supposedly more callous time, there were investigations and calls for banning the sport after Benny Kid Paret died after taking a beating from Emile Griffith. Or, November 13, 1982 the afternoon Duk Koo Kim died after being kayoed by Ray Mancini. After that bout their were in depth investigations into the cause of Kim’s death and changes in rules such as changing championship fights from 15 rounds to 12 rounds. The public saw this as a terrible tragedy and it was talked about for months afterwards. It was disturbing to people that they would witness a man being killed on live television and there was a dialog about what should be done including whether or not boxing should be banned.

Mago and Family
Mago and Family

Fast forward to 2013 and we are experiencing a very different reaction to an event that in many ways can be seen as worse than a fighter dying in the ring. Mr. Abdusalamov did not die from his injuries. The husband and father who received all of $30,000.00 for the beating he took lies in a family friend’s home in Connecticut partially paralyzed and unable to speak. Boxing continued uninterrupted after this horrific evening, and nothing has changed. If you watched boxing on TV shortly after that night you will have noted there was very little said about Mago other than a brief update on his condition. Some boxing writers, including me, did write about what we believed to be the negligence that occurred on so many levels that evening in New York City.

Well, thanks to New Times writer Dan Barry who has written a piece entitled “A Fighter’s Hour of Need”, we now have some more insight into the events of that night and just how terrible things were handled o so many levels. Mr. Barry’s piece can be read by going to: http://www.nytimes.com/2016/01/10/sports/magomed-abdusalamov-boxing-madison-square-garden.html?_r=0

Though I must warn you, what you will read is positively nauseating. Barry pieces together the events from transcripts of interviews given under oath during a continuing investigation being conducted by the New York State Office of the Inspector General. It is a lurid tale of neglect, incompetence, passing of blame, and cold heartedness that is truly unbelievable.

Between Rounds
Between Rounds

Mago, who had been on the receiving end of a terrible beating, is given a total of 15 minutes medical attention in the dressing room after the bout. He is asked through an interpreter if he has a headache. He responds that his face hurts, the same thing he was saying between rounds during the bout. Because, and even though his response is through the interpreter, he doesn’t specifically say he has a headache, the doctor decides he does not have serious enough injuries that would justify having an ambulance take him to the hospital. There were two on site. Mago’s trainer John David Jackson thought he should go to the hospital, but did not pursue the matter. In this age of cell phones it seems insane that nobody dialed 911. Why didn’t someone just approach one of the EMTs and demand they take the fighter to the hospital?

Dr. Gerard Varlotta was the doctor who examined Mr. Abdusalamov after the bout. Varlotta is a sports medicine specialist. As far as I have ever known sports a medicine doctor’s focus is usually on muscle, bone, and joint injuries. There was a neurologist in attendance that evening, but he remained seated at ringside and Varlotta reported his findings to him. The neurologist, Dr. Barry Jordan, had witnessed the Abdusalamov Perez fight and never once stepped into the ring to examine Mago even though it was obvious even from watching on television that the fighter was taking terrible punishment. Dr. Jordan also seemed not to feel there was any reason for him to leave his seat at ringside to spend a few moments in the dressing room examining the gravely injured fighter.

There is so much more contained in Dan Barry’s article. Clearly there was no one in authority around Mr. Abdusalamov that evening who would step forward and see the injured warrior was cared for. Eventually, Mago was taken by cab to a local hospital where he fell into a coma. His brain had most likely started to bleed during the fight, and certainly had in the dressing room after. It should also be remembered that Mr. Abdusalamov was complaining about “face pain” to his corner men during the fight. It was clear from watching the fight that there were problems early on. Time was of the essence.

If only the chief second had stopped the fight after the 4th round. If only Dr. Jordan had bothered to step into the ring to examine the fighter. If only Mago had been taken to the hospital immediately after the fight. If only the officials and medical people in charge that night were better trained and not just political appointees. If only there was an adult in charge. If only, if only…If only someone gave a damn.

Mr. Abdusalamov’s family has been filing lawsuits but they have an uphill battle suing the government. I do not know what culpability HBO has, but I would think they have at the very least a moral obligation to see Magomed Abdusalamov is not forgotten.

And what about the public? After all, it is our desire to see men step into a ring with the sole objective of inflicting head injuries on one another that makes this all possible. Are we culpable as well?

Please read Dan Barry’s piece. It is important that the public has the facts. It is important that we not allow this to happen again.

 

Does Size Matter?

Super Size Heavyweights

Are Nothing New

by Bobby Franklin

It is a chorus heard over and over again, “Sure, guys like Dempsey and Louis were good in their day, but today’s giant heavyweights would just be too big and strong for them. The old-timers would wilt under the power they would be facing.”

I guess before the 21st century we were living in a world of small people.

I guess before the 21st century we were living in a world of small people. Those who believe the Klitschkos and Furys of today would beat the greats of the past because they are so big just can’t be convinced differently. They think bigger is better and refuse to take into account boxing skill, something that is sorely missing in today’s game.

I am including some photos with this article along with details that show very big heavyweights have always been around, and there have been plenty of giant killers to accommodate them.

Dempsey Willard
Dempsey Willard

Jack Dempsey is always the first to come to mind with his brutal destruction of the 6’6 ½ “ 245 pound Jess Willard. Take a look at the photo of this bout I have included and tell me Dempsey would not have been able to reach the jaws of today’s slow moving behemoths. Dempsey at 187 pounds and standing 6’1” used his speed and power to make Willard’s size a liability for the Pottawatomie Giant. Not only did Dempsey defeat Willard, but it was one of the most brutal beatings ever handed out in a championship boxing match. And don’t tell me Willard was a bum. A few years before he had defeated the great Jack Johnson while going 45 rounds in the blazing Havana sun. Sure, Johnson was not in his prime, but he was still a great fighter. Plus, battling in temperatures that reached over 100 degrees is something not many today would be able to do, especially for over two hours.

Dempsey and Big Bill Tate 1919
Dempsey and Big Bill Tate 1919

Dempsey beat two other fighters who were much bigger than he was. The 6’4”Carl Morris, who weighed 226 pounds to Dempsey’s 187, lost three times to Jack. Once by decision, once by DQ, and once by first round knock out.

In 1923 Dempsey defended his title against South American champion Luis Firpo in a bout that will be remembered for Dempsey being knocked out of the ring. Firpo outweighed Jack by 24 pounds and was as strong as they come. While Dempsey’s rather awkward exit from the ring makes this sound like it may have been a close fight, the reality is Dempsey administered almost as savage a beating to Firpo as he did to Willard. Firpo was down 7 times in the first round and twice in the second on the way to being knocked out. Dempsey hit the canvas one time on top of the trip outside of the ring, but those knockdowns were caused more by the rushes from the Wild Bull of the Pampas.

Oddly enough, while Dempsey was truly a giant killer he did have some trouble with a fighter smaller than he was. When the champion defended the title against Tom Gibbons in 1923, Jack had a 12 pound weight advantage. The very smart boxing, and survival minded Gibbons, moved deftly and tied up Dempsey for the 15 rounds while losing a unanimous decision. This is one of Dempsey’s most interesting fights to watch in that you see what great boxing moves the Manassas Mauler possessed. He was well taught by the great trainer Jimmy DeForreset.

Louis Carnera
Louis Carnera
Louis vs Carnera 1935
Louis vs Carnera 1935

I will briefly mention a few others. Joe Louis was no stranger to fighting opponents who were much bigger than he was. He fought and beat Primo Carnera at 260 pounds to Louis’s 196, Buddy Baer who came in at 250 to Joe’s 206, and Abe Simon with Louis at 202 to Simon’s 254. The Brown Bomber had no problem reaching the jaws of any of these giants. Again, Joe had more difficulty with the lighter guys. Billy Conn, Max Schmeling, and Joe Walcott were all smaller than Joe.

Starkey and Carnera
Starkey and Carnera

Boston’s Jack Sharkey didn’t believe size mattered either. Jack, at 187 pounds, took on and beat the 6’3”, 220 pound George Godfrey. At 188 he beat Harry Wills who weighed 214, and in his first fight with Primo Carnera he easily beat the 260 pound strong man though only weighing 201 himself.

Again, it was the smaller guys who gave Sharkey more trouble. He lost to Tommy Loughran and Tony Shucco, both of whom he outweighed by a considerable margin.

Kid Norfolk
Kid Norfolk

I would like to conclude this piece by including another very great fighter of the past whom many of you may not have heard of. Kid Norfolk was a middleweight and light heavyweight who fought all comers including Harry Greb. At 5’8” and weighing 182 pounds he took on the 6’6” 235 pound Big Bill Tate and beat him soundly over ten rounds. Tate was a sparring partner for Jack Dempsey and looked formidable against Norfolk. The Kid used his speed and great boxing ability to run rings around Tate. This fight is available on Youtube, and I strongly urge you to view it. Norfolk vs Klitschko or Fury? My money is on Norfolk any day of the week.

Does size matter? I guess you good say it does, but often to the benefit of the smaller man.

Book Review: The Proper Pugilist: Essays on the Milling Art by Roger Zotti

Review by Mike Silver

Proper Pugilist
Proper Pugilist

Aside from being an astute observer of the boxing scene Roger Zotti is also an avid film buff, which makes his observations in this little gem of a book all the more interesting. Throughout the book Roger intertwines stories of the sweet science with his vast knowledge of Hollywood filmdom. I don’t know of any other author who can find something in common between the spectacular comebacks of Archie Moore vs. Durelle and Marciano vs. Walcott to the comebacks of film actors Gloria Swanson in Sunset Boulevard, Frank Sinatra in From Here to Eternity and Marlon Brando in The Godfather. But that is the subject of an essay titled “Fistic and Film Comebacks” and it’s what makes The Proper Pugilist: Essays on the Milling Art the perfect book for readers of this site.
Reading this concise collection of 22 short essays (each about three to four pages long) is akin to spending several enjoyable hours in conversation with a master story teller whose expertise and knowledge of his subject is obvious with every sentence. Several essays draw from the author’s personal experience as an enthusiastic young fan of televised boxing in the 1950s. In one essay he writes that his love of film and boxing was encouraged by his Uncle Cheech, citing comments he recorded in a decades old interview. “I love film noire”, says uncle Cheech. “Richard Conte, an Italian boy from New York, and McGraw—Charles McGraw—seemed to be in every film noire ever made. In many of Conte’s movies he was usually returning from somewhere—maybe from jail or from the service. In Cry of the City he gave his best performance. McGraw’s best movie was “The Narrow Margin. Where else but in a Roger Zotti book are you going to find stuff like this?

Where else but in a Roger Zotti book are you going to find stuff like this?
Ernest Hemingway
Ernest Hemingway

In another essay titled “Dempsey According to Roger Kahn” the author takes issue with Kahn’s impugning the honesty of the referee in the famous Dempsey-Tunney long count fight that appeared in Kahn’s bio of Dempsey. In the same essay is an explanation as to why Dempsey, while heavyweight champion, refused to spar with Ernest Hemmingway.

Court Shepard and Paul Newman
Court Shepard and Paul Newman

In “Where Have You Gone Court Sheppard”, he writes about the actor that portrayed Tony Zale in the 1956 film biography of Rocky Graziano. The real Tony Zale was first hired to play himself in the movie but was unable to pull his punches during rehearsals with Paul Newman, who portrayed Graziano. After nearly flattening Newman twice, Zale was let go and replaced with Sheppard. We find out that Sheppard boxed professionally as a light heavyweight from 1937 to 1941 and compiled a 14-2-3 record. He also appeared in over two dozen other films. But even more impressive is that in 1936 he won the St. Louis Golden Gloves title by defeating future ring great Archie Moore in the finals! There are additional information filled stories on Dempsey, Sonny Liston, Stanley Ketchel, Jake LaMotta, Gene Tunney, Jack “Doc” Kearns and lesser known boxers from the 1950s television era such as Coley Wallace, Jimmy Herring, Roy Harris, Walter Cartier and Artie Diamond. Each of the 22 essays is just long enough to keep your interest and eagerly turn to the next story. I found it hard to put down this delightful foray into the colorful nether worlds of Hollywood and boxing.

The Proper Pugilist is a wonderful companion piece to Roger’s other book about boxing—Friday Night World: A Tribute to Fighters of the 1950s. That book is both a homage to the author’s favorite boxers of the 1950s and a memoir about growing up in New Haven, Connecticut, during the fifties era.

Mike Silver is the author of The Arc of Boxing: The Rise and Decline of the Sweet Science (McFarland Publishers, paperback 2014). His new book, Stars in the Ring: Jewish Champions in the Golden Age of Boxing (Lyons Press) will be published in March 2016.

The Ogunquit Playhouse Announces Its 2016 Season Lineup

 

The Season Kicks Of With Let It Be: A Celebration of the Music of the Beatles

Let It Be (Photo Paul Coltas)
Let It Be (Photo Paul Coltas)

It looks to be another exciting season as the Ogunquit Playhouse rolls out its schedule for 2016. This will be their longest season ever kicking off on May 18th with Let It Be: A Celebration of the Music of the Beatles. This tribute show follows the Fab Four from their humble Liverpool beginnings through their meteoric rise, and includes such great songs as Twist and Shout, She Loves You, Yesterday, Hey Jude, and Let It Be.

Let It Be will play through June 11th and be followed by Anything Goes, one of the great Broadway musicals featuring the music of Cole Porter.

Ogunquit 2016 SeasonThe season will continue with The Hunchback of Notre Dame, Priscilla Queen of the Desert, Seven Brides For Seven Brothers, and wrap up the regular season with the return of the rocking Million Dollar Quartet.

Once again, the Playhouse will work in collaboration with the Music Hall in Portsmouth, NH to present a special Christmas show to be announced later.

The Qgunquit Playhouse is one of the most consistently good venues in New England, and this year’s lineup looks to be very promising.

Artistic Director Brad Kenney completed ten years with the Playhouse in 2015 and has taken the theatre far. Below is a Youtube look back on the many wonderful productions that have taken place under Brad’s incredible guidance.

For more information go to: www.ogunquitplayhouse.org

The Hartford Stage Presents Romeo and Juliet

Kaliswa Brewster and Chris Ghaffari Lead Cast

Directed by Darko Tresnjak

Chris Ghaffari and Kaliswa BrewsterHartford Stage Artistic Director Darko Tresnik will be bringing his magic to William Shakespeare’s most popular play Romeo and Juliet beginning on February 11th and playing through March 20th.

Kaliswa Brewster and Chris Ghaffari will play the archetypal young lovers. Brewster’s credits include Hartford Stage’s La Dispute and Macbeth and Williamstown Theatre Festival’s Under Milk Wood, all three directed by Tresnjak; the new Showtime series “Billions,” which stars Damian Lewis and Paul Giamatti and debuts next month; and the Off-Broadway premieres of Emotional Creature and Soldier X. Ghaffari is in his final year of the MFA program at the Yale School of Drama, where he has performed in Coriolanus, King John and Paradise Lost. His resume also includes King Lear for The Public’s Shakespeare in the Park and As You Like It and Julius Caesar at Shakespeare on the Sound.

Tresnjak said, “Romeo & Juliet is a play of seemingly infinite possibilities, reinvented from generation to generation for over 400 years, a symbol of romantic love infused with iconic imagery and unforgettable language that has become a part of the vernacular. We look forward to exploring this eternally modern play with a company of great stage veterans and rising stars.”

Having seen Darko perform his magic on MacBeth and Hamlet I am very much looking forward to seeing what he does with Romeo and Juliet.

Romeo and Juliet contains some of Shakespeare’s best known lines including “A plague on both your houses.”, “Good night, good night! parting is such sweet sorrow, that i shall say good night till it be morrow.”, and “What’s on a name? That which we call a rose by any bother name would smell as sweet.”

For more information go to: www.harfordstage.org or call 860-527-5151

A Captivating Romeo and Juliet At The Hartford Stage

 

by Bobby Franklin

“O Romeo, Romeo! – wherefore art thou Romeo?”

In answer to that question, Romeo, Juliet, and all of the Capulets and Montagues are on the Hartford Stage under the very fine direction of Darko Tresnjak.

This Romeo and Juliet is nothing short of superb.

This Romeo and Juliet is nothing short of superb. Written over 400 years ago, the Hartford’s production of Shakespeare’s work is fresh and alive. The beautifully talented Kaliswa Brewster in her “dream role” as Juliet couldn’t be more perfect in the role as the young Ms

Juliet (Kaliswa Brewster)
Juliet (Kaliswa Brewster)

Capulet who is taken with the handsome Romeo played by the equally talented Chris Ghaffari. The two are lovely to watch as their forbidden love blossoms. They perform their parts with much playful humor (the famous balcony scene is among the best and most original I have ever seen) on a versatile set inspired by the work of Italian neorealist cinema, think Rossellini and Visconti.

Romeo (Chris Ghaffari) and Juliet (Kaliswa Brewster)
Romeo (Chris Ghaffari) and Juliet (Kaliswa Brewster)

The first half of this beautiful play is joyful and light. It makes the audience relax and share in the excitement of the title characters as they become more and more enthralled with each other. We laugh and share in their joy. Of course, we are made well aware of the tension that exists between the two families, but some how we feel things will work out just fine. Yes, even knowing the story, our emotions follow that arc. It is the magic director Tresnjak is able to make happen on stage. It is not the first time I have seen him do this.

Mercutio (Wyatt Fenner) and Tybalt (Jonathan Louis Dent)
Mercutio (Wyatt Fenner) and Tybalt (Jonathan Louis Dent)

Mercutio (Wyatt Fenner) is unlike any you have seen before. He is intense and, well, mercurial. And it is when he meets his end that our joyful mood takes a sudden and very real turn. “A plague on both your houses!” Again, it is that Darko magic at work. I observed laughter turn to tears in the audience as things descended into darkness because of the petty hatreds of the two families.

Friar Laurence (Charles Janasz)
Friar Laurence (Charles Janasz)

Charles Janasz brings wisdom and warmth to the part of Friar Laurence, and Kandis Chappell as Juliet’s nurse joins him in the failed and finally tragic attempt to reconcile things for the lovers and families. Our hearts break for them as well.

Everyone in the large cast is terrific, the set, with a balcony that extends and recedes from a wall designed after an Italian cemetery wall, and lighting are to the usual high standards of the Hartford. This production is a joy for all of the senses. Within minutes of the opening the theatergoers feel they are a part of all that is happening on the stage.

If you have seen Romeo and Juliet before do not miss this one as it is unlike any before. If you have never experienced it, there is no better time than now to see it for the first time, though I must warn you it may spoil you for future productions.

Juliet (Kaliswa Brewster) and Nurse (Kandis Chappell)
Juliet (Kaliswa Brewster) and Nurse (Kandis Chappell)

I have now attended enough Shakespeare productions directed by Darko Tresnjak at the Hartford to say his are by far the best in New England.

I urge you to take the short run down to Hartford to see this play. You’ll be sorry if you miss it.

Romeo and Juliet at The Hartford Stage through March 20th.

Info at www.hartfordstage.org Box Office 860-520-7114

Seaglass Chorale in Concert

Presents “Reflection and Meditation”

Sunday, March 20, 2016

Merrill Auditorium, Portland

3 p.m.

I saw the Seaglass Chorale perform this work by Ola Gjeilo last year and it is positively beautiful. The music and photographs are a perfect match. The voices and orchestra soothe the soul.

 

“The voices and orchestra soothe the soul.”

 

Merrill Poster Updated Jan 2016Seaglass Chorale of southern Maine will present its debut concert, “Reflection and Meditation,” at Portland’s Merrill Auditorium under the direction of Jean Strazdes. The concert, scheduled for March 20, introduces the music of contemporary Norwegian composer Ola Gjeilo to the Merrill audience and will be performed against a backdrop of images by Maine photographer Peter Ralston. Selections include Sunrise Mass, Across the Vast Eternal Sky, Dark Night of the Soul, and Luminous Night of the Soul.

 

The performance by the 49 member chorale will feature Kim Karchenes, piano; visual artist Stephanie Sanders and a nine member string ensemble.

Tickets are available through PortTIX for $38 with special rates for groups of 15 or more. For more information, see www.tickets.porttix.com, Email: www [dot] boxoffice [at] porttix [dot] com or call 207-842-0800.

Does Character Still Matter?

by Bobby Franklin

“Maybe our society could use a few old fashioned lessons in boxing and what it truly means to be an adult.”

For years parents looked for ways to build character in their children. Quite often sports was seen as one of the best ways for young men to learn the lessons of what it meant to truly be a man in the best sense of the word. Organizations such as the Boy and Girl Scouts were another institution that helped build character in young people in order to prepare them to enter adulthood equipped with the tools to live a decent and productive life where they would contribute to the betterment of society. There were many other ways that these lessons could be learned as well. Things from having an after school job such as working for a local business or having a paper route. These were all ways for young people to learn responsibility and to gain the skills needed to be able to interact with other people.

1940s Young Men Learning To Box
1940s Young Men Learning To Box

There were many ways to inculcate these values in our young people and they were used for years with much success. Unfortunately, many of these things are no longer in fashion. The Boy Scouts have been under assault for years and I can’t remember the last time I saw a young person delivering newspapers. After a snowstorm we no longer get a knock at the door from some eager young people ready to negotiate a price for shoveling the walk. Things have really changed.

I want to mention the connection my thoughts on this have to do with boxing, but first, one other observation.

As I write these words the leading candidates for both parties appear to be on their way to their respective nominations for president. According to polls, they both seem almost unstoppable. What also consistently shows up in polls is something very disturbing. The vast majority of voters, including those supporting both candidates, when asked about the character of each of these people consistently respond they find them both untrustworthy and dishonest. In spite of this they still say they will vote for them. In other words, character, that trait that was so important to Americans for so many years, no longer matters. It could be argued it is a detriment to success in today’s world. This is not only sad but dangerous for the future of our republic.

Joe Louis
Joe Louis

Now on to boxing and character. For most of the 20th Century it was almost impossible to find a man who hadn’t at some point while growing up had a pair of boxing gloves on and who had been given, at the very least, a few pointers in the Manly Art of Self Defense. These lessons were usually given by the young man’s father, but could also have been taught by an older brother, uncle, friend, or even a member of the clergy.

These lessons included, but were not limited to, being taught how to hold one’s hands in a defensive position, the proper use of the left jab, how to throw a one-two combination, and also some pointers in how to keep physically fit as taking care of one’s body was essential to being a good boxer.

Something else even more important was instilled during these lessons. That something else was how a real man carries himself. That with the knowledge of how to overpower someone and protect yourself also came the responsibility not to abuse that power. Never hit a man when he is down was a common refrain that would carry over from boxing into a valuable adage to in life to remind us to offer hand not a fist to someone who was having hard times.

Always fight fair even if the other guy doesn’t would be a constant reminder in life about not allowing yourself to be dragged down into the gutter by another’s ill behavior.

It was amazing how much could be learned from a few hours with the gloves on while listening to a mentor who would guide his student from the use of the right cross to never crossing his fellow man. It is sad that that world seems so far away now.

It is sad that that world seems so far away now.

I am not saying there weren’t always rogues, cutthroats, and dishonest people around able and willing to take advantage of any situation. It is just seems to me the public better understood the difference between good and bad and frowned upon those who would act outside of the society’s code of decency.

Boxing has often been called a reflection of society. I believe this is true. On one hand it has been populated by the poorest members of society, usually immigrants or those recently descended from those new to our shores. They often came from struggling and desperate circumstances. I think of Jack Dempsey who grew up almost in the wilderness and lived the life of a hobo having to literally fight just to feed himself and stay alive. Or of Joe Louis, the son of a sharecropper, who would make all American’s proud to have him as the Heavyweight Champion. In both these men we see examples of people who struggled and rose from nothing to gain great notoriety by using their fists. And in both these men we see how they handled the power they were given with dignity. They were both the type of men who inspired good things in others.

I am sure there are people like them around today, but those people are not being recognized in the way they should be. Mike Tyson, a totally base human being is lauded with a Broadway Show and an HBO special. Floyd Mayweather beats his wife and still makes countless millions of dollars. And the two potential nominees for the highest office in the world are deemed to be dishonest rogues by the very people supporting them.

Maybe our society could use a few old fashioned lessons in boxing and what it truly means to be an adult.

Patty Duke, May She Rest In Peace

Patty Duke, Rest In Peace
Patty Duke, Rest In Peace

Book Review: “Stars In The Ring”

“Stars In The Ring:
Jewish Champions In The
Golden Age Of Boxing” by Mike Silver

Reviewed by Bobby Franklin

StarsMike Silver pegs the first four decades of the 20th Century as Boxing’s Golden Age. It was a period where the sport was at its peak in both popularity and talented participants. The boxers of the period were extremely well schooled. Most trainers considered themselves teachers, and were comparable to college professors in the seriousness they brought to teaching the fine art of pugilism.

Mr. Silver also considers this time in history a Golden Age for Jewish boxers. In his new book “Stars In The Ring: Jewish Champions In The Golden Age Of Boxing” (Lyons Press, 366 pgs., $29.95) he does a magnificent job of not only telling the story of the many great Jewish fighters, he also gives a concise and fact filled history of the overall sport of boxing.

Joe Choynski
Joe Choynski

The book is is divided up into an introduction, six chapters, and an extensive appendix. The introduction along with chapters one and two give a wonderful overview of the sport along with setting the background of how Jews became such a big part of boxing. It is filled with such interesting fact as pointing out how Jewish boxers who held world titles during the 1920s ranked only behind Italians but ahead of the Irish in numbers. There were close to 3,000 professional Jewish fighters active during the Golden Age. But make no mistake, “Stars In The Ring” is not just a compilation of statistics; it is a wonderful narrative of a very exciting time not only the history of boxing but also of our nation.

Barney Ross
Barney Ross

In the chapter entitled “The Melting Pot Sport” we learn much about the immigrant experience in America. The various ethnic groups that were at the lower rung of the economic ladder were proud of the fighters who shared their background. Often, matches pitted boxers from the different groups against each other.

Mr. Silver also discusses the Jewish fighters who took on Irish names, or a nom de box, when that became more advantageous for getting fights. There was another reason, perhaps more compelling, why young Jewish men would fight under an assumed named. I’ll quote the author, “Jewish boxers were brave and tough, but they did fear one personage above all others – their mothers.”

“Jewish boxers were brave and tough, but they did fear one personage above all others – their mothers.”
Benny Leonard
Benny Leonard

Benny Leonard was one such fighter. Leonard’s real name was Benjamin Leiner, but he changed it to keep his parents from finding out what he was doing for a living. When a black eye proved to uncover his activity he was quickly forgiven when he handed his father the purse from his evening’s work.

The book is filled with stories like that, but that is just the beginning. Chapters 3 though 6 break the sport up by its various eras. Each chapter begins with an overview of the time period that is extremely fact filled and interesting. These narratives  lead the reader biographies of many of the fighters from the period that has just been discussed.  There are also photographs of the participants. A total of 166 biographies are contained in the book. You will meet the young Charley Goldman, who has an official record of 129 fights, but is believed to have participated in over 400 bouts. If the name sounds familiar, it is because Charley went on to become one of the great boxing trainers, teaching world champions Lou Ambers, Joey Archibald, Marty Servo, and a kid from Brockton, MA named Rocky Marciano.

Georgie Abrams
Georgie Abrams

There is also Georgie Abrams whom Silver ranks as the greatest Jewish middleweight who ever lived. I think Sugar Ray Robinson would agree with that assessment as Abrams gave the great Robinson all that he could handle while losing a disputed decision to him.

Sid Terris, Al Singer, middleweight champion Al McCoy (real name Alex Rudolph), Abe Simon, Ruby Goldstein, Saoul Mamby, “The Fighting Dentist” Leach Cross, Herbie Kronowitz, and Victor Young Perez, who’s tragic story is both heartbreaking and inspiring, are just a few of the many fascinating biographies contained in this wonderful book.

Leach Cross
Leach Cross

Mike Silver could have left it at that and had an outstanding work, but he went even further by interspersing vignettes throughout the book discussing all sorts of boxing related subjects from boxing trading cards to boxing in the movies to a piece about the Shanghai Ghetto. The story of the ghetto in China was new to me and incredibly fascinating. You’ll also learn about the boxing careers of Entertainers Billy Joel and Woody Allen.

To top the book off, Mr. Silver has compiled an extensive appendix that contains, among many other things, his picks for the greatest Jewish boxers of all time. Given Mike’s extensive knowledge of the sport this list is one to be taken very seriously. I know I would not argue its merits with him. He also lists Jewish boxers that have competed in title bouts along with date, location, and results.

Charley Goldman
Charley Goldman

A very interesting section lists the Madison Square Garden Main Events that featured Jewish boxers from 1920 to 2014. It is a very long list. The appendix is an encyclopedia that boxing aficionados will find themselves referring to time and again.

I have to comment on the book as an object as well. When I opened the package it was mailed to me in I was astonished to see how pleasing to the eye it is. It is not a book to be left on a shelf. It is beautiful to hold and look through. Copiously illustrated with hundreds of amazing photographs it is a piece of art unto itself.

Mike Silver, who’s previous book “The Arc of Boxing” rates as one of the all time great works on the Sweet Science (I consider it the best) has not let his readers down with “Stars In The Ring”. This is a book to be displayed so that friends may share it when visiting. I guarantee it will be the cause for hours of interesting conversation. You can pick it up and turn to any page and find something interesting to read.

Mike Silver knows his boxing

Mike Silver knows his boxing, he also knows how to write, and that combination (pun intended) makes this book a joy to own.

If you are one of the many misguided souls who chuckle when you hear someone mention Jewish fighters, you will come away from this book with a healthy respect for the very tough and very honorable men who were Stars in the Ring.

Review: Passing Game: Benny Friedman and the Transformation of Football

Passing Game : Benny Friedman and the transformation of football. Murray Greenberg. New York: PublicAffairs, 2008), 358 pages. $26.95.

Reviewed by Len Abram

Passing Game
Passing Game

In 2005, eighteen years after NFL quarterback Benny Friedman died, coach Bill Walsh welcomed Friedman into the NFL Hall of Fame. In the long overdue induction, Walsh addressed Friedman as if he were in the audience:

“Benny, you were really the catalyst that started the forward pass in professional football … the person who demonstrated and proved to everyone that the forward pass can be effective and, more importantly, … consistently effective.

The forward pass had been around two decades before Benny Friedman took the melon-sized ball of the 1920s and made it into a formidable offensive weapon. Walsh acknowledged Friedman’s achievements: “[You] completed a good percentage of your passes and you got into the end zone …. You circumvented a lot of wear and tear on the players. So, I would say that Benny, you were really the person who changed the face of football.”

Today, Benny Friedman is hardly known as the person who changed the face of football. First-time author Murray Greenberg intends to right that wrong. For football fans, Greenberg also charts the history of the NFL from poor cousin to collegiate football into America’s favorite and richest sport. He also tells a story of American meritocracy, of a Jewish kid from Cleveland, son of Russian immigrants, who experienced national greatness – and a personal tragic end.

American football has always been a rough sport, an inheritance from English rugby. Long before we winced when Tom Brady’s knee snapped, football reveled in brutality, of hardened men with little safety equipment, who hurled their bodies at one another, sometimes with fatal results. In 1905, college football had 18 deaths and 159 serious injuries. President Theodore Roosevelt, who had led men in war and recognized the its value in strengthening bodies and character, intervened and saved football. One new rule promoted the forward pass, which could literally leap over the brutal grind of gaining yardage through contact and collision.

The bias of the game was still against the forward pass (the passer had to be five yards behind the line of scrimmage and an incomplete pass meant losing possession). In addition, the ball was hard to hold, let alone throw. Greenberg shows Friedman as a teenager strengthening the tendons and muscles of his hands and arms. Over time, he developed a method of passing and follow through that was the model for form and accuracy, emulated by quarterbacks since (the book jacket has frames of the passing style).

Benny Friedman
Benny Friedman
Friedman’s conditioning had to be superb.

Friedman’s conditioning had to be superb. High school, college and professional football players were required to play both offense and defense. Now the NFL has more specialists than the Mass General, but in the 1920s Friedman passed, carried, tackled, ran interference, and kicked extra points. Moreover, Friedman and his peers often played the whole game, and Friedman once played three games in one week. Players were lucky to earn $150 to $200 per game, whereas Friedman in his prime earned $750 (and thousands more in annual contracts).

Coaches and competitors marveled at Friedman’s ability to stay cool in the mayhem of the game and fire accurately to his receiver. In the evolution of American football, toughness and bravery are required, but intelligence decides success. To get Friedman onto the New York Giants, the owner of the Giants bought his entire lackluster team. Friedman turned the Giants into winners and money makers, even in the Depression. Sports writers referred to Friedman with 20 touchdown passes (his closest competitor had six) as a phenomenon, an observation that makes questionable his late inclusion in the Hall of Fame.

Friedman brought so much excitement and innovation to the game of football that by 1934 the NFL changed its rules about passing and the football itself. The ball became the sphere of today – easier to hold and especially to pass. Friedman did indeed change the face of football.

Friedman did indeed change the face of football.

Friedman’s many achievements and lasting influence are all the more remarkable given his Jewishness.

According to stereotypes around 1920, Jews could not compete in athletics. Friedman, however, did not consider himself a Jewish athlete, but an athlete who was Jewish. He was neither atypical or typical, just himself. Within a decade, Jews were making their mark in boxing and baseball. Friedman was chosen to be captain of his college team, the Michigan Wolverines. Hundreds of Jews across the country sent the young man telegrams of congratulations, and kids lined up for autographs. He was their hero and representative.

Like many of his generation, Friedman joined the military after Pearl Harbor. In his late 30s, Navy Lieutenant Friedman insisted on a combat tour on board ship during the Battle for Okinawa. After the war, he continued playing semiprofessional ball and coached professional football. Friedman then had another opportunity to be a hero for Jews. Because Abram Sachar wanted Brandeis to be a secular Jewish university, the new president believed a competitive football team would emphasize that point. Sachar pleaded with Friedman be its first – and as it turned out – last coach.

The faculty and student body perhaps never had Sachar’s passion for football and argued against its weak academics and high costs. One of the most outspoken students was radical Abbie Hoffman, whose values and politics were antagonistic to those of Friedman’s generation, and to what football represented. By 1959, Friedman felt betrayed by Sachar and Brandeis. The football program closed down, and eventually Friedman left.

Without much comment, Greenberg lets Friedman’s words and actions speak for themselves. Readers may find Friedman easier to admire than to like. His supreme confidence and his outspoken candor were not always appreciated. He could be petty. He also annoyed the NFL when he complained about its treatment of NFL veterans and when he promoted himself for the Hall of Fame – possible reasons for his late induction.

Friedman, however, is remarkable a long way from the football field. He lived his life on his own terms, even with severe illness. Religion and society cannot endorse his choice of suicide, but we can still admire how Benny Friedman played the game.

(This article originally appeared in the Jewish Advocate. Used here with permission of the author.)


 

 

 

 

TRINITY REP CLOSES SEASON WITH OKLAHOMA!

A fresh take on a classic helmed by 2015 Emmy Award winner Richard Jenkins and Sharon Jenkins May 5-June 5, 2016Oklahoma art 4 web

PROVIDENCE, RI: Trinity Rep closes out its 52nd season Rebels, Renegades and Pioneers with Rodgers & Hammerstein’s Oklahoma!, directed and choreographed by 2015 Emmy Award winner Richard Jenkins and Sharon Jenkins. Oklahoma! runs May 5-June 5, 2016.

At the turn of the 20th century in the western territories, cowboy Curly vies with mysterious farmhand Jud for the heart of Laurey, the woman they both love. Packed with humor, romance, square dances and an unforgettable score, Oklahoma! is a portrait of both the naiveté and complexity of American pioneer settlers.

“We are absolutely thrilled to have Richard and Sharon bringing their signature style and relentless approach to Oklahoma!,” artistic director Curt Columbus said of the pair that brought Trinity Rep’s critically acclaimed 2014 production of Oliver! to life. “They are an incredible team, because of their commitment to emotionally evocative story telling through world class acting. Richard and Sharon personify what it means to be Trinity Rep artists. This is sure to be an Oklahoma! unlike any other.”

The cast includes Trinity Rep resident acting company members Janice Duclos, Rebecca Gibel, Stephen Thorne, Charlie Thurston, Rachael Warren and Joe Wilson, Jr., with Shura Baryshnikov, Royer Bockus, Jon Cooper, Taavon Gamble, Tom Gleadow, Kevin Patrick Martin, Jude Sandy, Hannah Spacone and Stephen Ursprung.

The design team includes Michael Rice (music direction), Eugene Lee (set and lighting design), Toni Spadafora (costume design), Peter Sasha Hurowitz (sound design) and stage manager Kristen Gibbs.

Richard Rodgers (composer, 1902–1979) and Oscar Hammerstein II (librettist/lyricist, 1895–1960) joined forces in 1943, creating the most successful partnership in American musical theatre. Oklahoma!, their first musical together, was the first of a new genre—the musical play—blending Rodgers’ sophisticated style of musical comedy with Hammerstein’s innovations in operetta. Oklahoma! was followed by Carousel (1945), Allegro (1947), South

Pacific (1949), The King and I (1951), Me and Juliet (1953), Pipe Dream (1955), Flower Drum Song (1958) and The Sound of Music (1959). The team also wrote one movie musical, State Fair (1945; adapted to the stage, 1995), and one for television, Cinderella (1957; adapted to the stage, 2011). Their musicals have garnered awards including: Pulitzer Prizes, and Tony, Oscar, Emmy, and Grammy Awards, in addition to Drama Desk, Drama Critics’ Circle, Outer Critics’ Circle, Laurence Olivier, and Evening Standard Awards.

Director Richard Jenkins was a Trinity Rep acting company member for 14 seasons, starting in 1970. He served as artistic director for four seasons (1990-1994) and directed numerous productions during that time. Richard has appeared in over 60 feature films, the HBO drama series Six Feet Under, and has been nominated for three Screen Actors Guild Awards, two Independent Spirit Awards, a Critics Choice Award, a Gotham Award, and received a Satellite Award, a Spotlight Award, an Emmy Award for Outstanding Lead Actor in a Miniseries or Movie for the HBO miniseries Olive Kitteridge and an Academy Award nomination for Best Actor for his performance in The Visitor. Recent credits include the film God’s Pocket with Philip Seymour Hoffman and Trinity Rep’s own Peter Gerety, as well as his Emmy-winning role opposite Frances McDormand in Olive Kitteridge.

Director and choreographer Sharon Jenkins has worked as a choreographer on productions at Trinity Rep for over 40 years, where she has worked with artistic directors Adrian Hall, Richard Jenkins, Amanda Dehnert, Oskar Eustis, and Curt Columbus. She has choreographed The Music Man, Annie, West Side Story, The Fantasticks, The Mystery of Edwin Drood, Cabaret, Camelot and Oliver!. Sharon spent 20 years as the dance director at Hope Arts Magnet School in Providence, 15 years as a dance specialist with the RI State Council on the Arts, 10 years as a dancer with RI Dance Rep, and 10 years as choreographer for The Arabella Project. In addition to her work at Trinity Rep, she has worked at Long Wharf Theatre, Arena Stage, Hartford Stage, Center Stage, South Coast Rep and was the choreographer for Paramount Pictures feature School Ties.

website at www.trinityrep.com

Music Review: Reflections and Meditation

 

Performed by Seaglass Chorale

Under The Direction of Jean Strazdes

Ola Gjeilo, Music

Peter Ralston, Photography

March 20, 2016

Merrill Auditorium

Portland, Maine

A Concert To Soothe The Soul

by Bobby Franklin

In 2015 I attended a performance of this work by the Seaglass Performing Arts in a church in Saco, Maine. It was done beautifully and I left that night feeling filled with peace. I really couldn’t imagine how they could do a better job with it.

Well, I returned to see the group again perform this work at the lovely Merrill Auditorium in Portland, Maine, and they have taken their performance to an even higher level. They were simply outstanding.

Under the direction of Jean Strazdes the chorale was near perfect.

Under the direction of Jean Strazdes the chorale was near perfect. The string musicians, many of whom were from the Portland Symphony Orchestra were a delight with Kim Karchenes on piano.

Terri Ralston, Jean Strazdes, Stephanie Sanders, and Peter Ralston
Terri Ralston, Jean Strazdes, Stephanie Sanders, and Peter Ralston

The music, Sunrise Mass, composed by Ola Gjeilo, will be new to most people but is soothing and joyful. Its world premiere took place in 2008 in Oslo. According to the program, Gjeilo’s intent and story of his Mass are expressed through the way in which the music comes across sonically. The text comes from the Ordinary of the Mass: Kyrie – The Sphere; Gloria – Sunrise; Credo – The City; Sanctus & Angus Dei – Identity and the Ground.

Sea Glass by Peter Ralston
Sea Glass by Peter Ralston

 During the concert, photographs of the MaineCoast by Peter Ralston were projected on a large screen above the singers and were in perfect sync with the music. Media artist Stephanie Sanders did a remarkable job placing the screen so audience members were able to see the performers and the photos at the same time. The voices, music, and visuals all blended together to convey a warmth and peacefulness that did indeed lead the listeners into a state of reflection and meditation.

Pentecost by Peter Ralston
Pentecost by Peter Ralston

Peter Ralston’s photos alone would be enough to inspire and calm,

Peter Ralston’s photos alone would be enough to inspire and calm,but when paired with the music of Gjeilo they are brought to life. Ms Sanders added motion to the still images which gave the feeling of having the audience step into the photographs. At times I found myself in a state of mind where I had let go of any negative feelings about life and was taken to a place of calm. It was truly magical.

Seaglass Chorale and Orchestra
Seaglass Chorale and Orchestra

Seaglass Performing Arts was founded in 1993 by Artistic Director Jean Strazdes, the Seaglass Chorale is a non-auditioned adult choral group of 50-60 voices and represents some 20 southern Maine communities. They regularly perform throughout the area with their accompanist, Kimberly Karchenes. They have also performed in Europe with trips to Rome, Venice, Innsbruck, and Budapest. Fortunately, they always return home.

For more information go to:

www.seaglassperformingarts.org

Peter Ralston’s photography has appeared in over 50 magazines. His work is regularly exhibited in galleries here and abroad. Recently, his work was added to the permanent collection of the National Museum of American History at the Smithsonian. You can learn more about Mr. Ralston by going to www.ralstongallery.com

Next up for the Seaglass Chorale will be Pops Concert: It’s Showtime! This concert will feature music from Broadway musicals past and present. This performance will take place in May and is sure to be a fun evening. Check the Seaglass website for further information. You will not be disappointed.

Zale vs Cerdan

A Picture Paints A Thousand Words

by Bobby Franklin

Zale Cerdan (1)

In 1946 a French middleweight by the name of Marcel Cerdan arrived in the United States to campaign for a shot at the world title then held by Tony Zale. Zale would lose the title to Rocky Graziano in 1947 but regain it again the following year in his third fight of an epic trilogy he fought with the explosive punching Graziano.

When Cerdan first arrived on these shores he had an amazing record of 93 wins with only 2 losses, both of those losses came via disqualification. 54 of those victories came by the knockout route. While his record was impressive he was stil a bit of a mystery to American fight fans. He had defeated an aging Holman Williams, a very great fighter, but one who was nearing the end of his career.

In his American debut, Cerdan did not chose an easy mark for his opponent. He took on the very tough Georgie Abrams in Madison Square Garden. Georgie Abrams was another great fighter. He had  held the legendary Charlie Burley to a draw, and just two fights after his bout with Marcel he fought Welterwieght Champion Sugar Ray Robinson in a non title fight. Robinson was awarded a very disputed decision and would never face Abrams again.

The Cerdan vs Abrams bout was a blistering affair

The Cerdan vs Abrams bout was a blistering affairwith the Frenchman winning a close but unanimous decision. That night he proved he was worthy of the praise that preceded him form the European press.

After the Abrams fight Cerdan hit the road compiling 10 wins against 1 loss. That loss was in a fight for the European title against Cyrille Delannoit. Marcel would avenge that loss in a rematch earning himself a shot against champion Tony Zale also know as the Man of Steel.

Tony was a very hard punching fighter who never took a backwards step.

Tony was a very hard punching fighter who never took a backwards step. His three bouts with Rocky Graziano are considered among the greatest slugfests in boxing history. Tony had held the title since the early 1940s with the exception of the brief period when he lost it to Graziano. Tony had taken on all comers and even fought light heavyweight champion Billy Conn in a non-title fight.

The bout between the two was scheduled to take place on September 21, 1948 at Roosevelt Stadium in Jersey City, New Jersey. Everyone knew this would be a fight to see as neither contestant had ever been in a dull fight.

Now the reason for the title of this article has to do with the photo accompanying it. I got the picture from the great boxing historian Gregory Speciale.

This photo not only tells the story of the fight, but it also shows some very great moves, moves you will not see today, being executed. It also gives us some insight into Tony Zale on that night.

Right from the bell starting round one this was an exciting fight. Cerdan came out on fire. He was extremely quick and aggressive. While you would most likely describe him as a slugger, it should be pointed out that he used great head movement in slipping punches. Zale met him head on but was having trouble landing effectively. This is where the photo shows us something about the champion. If you look closely you will see Zale is throwing a very hard left jab, the only way he threw any punch. But notice how he appears to be lurching forward and is off his feet. This is a sign of an aged fighter. His legs no longer have the spring in them, and while he is throwing an excellent jab his legs are not carrying him in. Tony had had a long career at this point and his wars with Rocky Graziano had to have taken something out of him.

Now look at Cerdan. You will see that he has stepped slightly to his right and tilted his head to the outside of the jab. It appears he is about to deliver a left hook as he is shifting his weight at the hips from the right to left side of his body. He is also in perfect position to follow up with a right hand. On top of this, he is in great defensive position. While Zale is off balance and being driven forward by the force of his punch and the stiffness of his legs, Cerdan will still be in perfect position to throw more punches as Tony turns towards him. So much is going on in this photo which only captures a fraction of a second of the fight. You might also note how carefully the referee is monitoring the action. This is like viewing a master class in boxing.

This is like viewing a master class in boxing.

Watching footage of the fight is even more enlightening. While Cerdan dominated most of the bout, Zale was keeping the rounds close. Cerdan was amazing in his use of double and triple hooks, going to the head and body. He also countered beautifully with right hands over the champion’s left jab. Cerdan was very aggressive and fast. He was moving forward throughout most of the fight but at angles. He was throwing magnificent combinations, and was methodical in how he would go from body to head and back again.

Tony Zale, being the great champion that he was, looked like he might have been turning things around in the 7th round as it appeared Marcel was slowing down and Zale may have been changing the tide of the fight. Unfortunately for Tony, this would be his last stand. Cerdan began to pick up the pace again in the 8th round and really began turning it on in the tenth where he was battering the never say die Zale.

In the 11th round Cerdan was unleashing brutal and blistering combinations with incredible speed and power. Tony was taking an awful beating and was dropped by a vicious left hooks just before the bell rang ending the round. His seconds helped him to his corner where they wisely told the referee the fight was over.

Tony Zale went out like a true champion that night

Tony Zale went out like a true champion that night and would retire. Cerdan would have two non-title fights and then defend the title against Jake LaMotta. Marcel’s shoulder was seriously injured in the first round when he was thrown to the canvas by LaMotta. The champion fought on with just one arm until the 9th round when his corner stopped the fight.

A rematch was immediately scheduled, but Marcel Cerdan was killed in a plane crash while on his way to America for the fight.

Cerdan was a great fighter and a charismatic personality. If he won back the title he may very well have gone on to fight Sugar Ray Robinson in what would have been a very interesting fight. Fate stepped in and prevented us from learning just how great a fighter he was. But judging by what you van see in the Zale fight, even from that one photograph, you know you are looking at one of the best.

Review: Blood Brothers: The Fatal Friendship Between Muhammad Ali and Malcolm X

By Randy Roberts and Johnny Smith

Basic Books, Hardcover, $28.99, 392 Pages

An Important Book About Two Flawed Men Who Influenced History And Boxing

Reviewed by Bobby Franklin

 

Blood BrothersThere have been more books written about Muhammad Ali  than any other boxer, perhaps more than any other athlete. The vast majority of these books play into the Ali myth that has been orchestrated for years by many in the press as well as the former champ’s own publicity machine. Every so often an author digs in and takes an unbiased look at this very complicated man, and the truth is more interesting than the myth.

 

Two of these books, Mark Kram’s The Ghosts of Manila and Jack Cashill’s Sucker Punch: The Hard Left Hook That Dazed Ali and Killed King’s Dream, are among the best when it comes to uncovering the puzzle of understanding the real Muhammad Ali. Joining these works is the meticulously researched Blood Brothers by Randy Roberts and Johnny Smith.

Delving into previously unviewed FBI files, the personal papers of Malcolm X, the notes of Alex Haley, and interviews from the past and present, the authors have written an important history of not only a tragic relationship, but also of the Nation of Islam (The Black Muslims) as well as a very interesting account of Cassius Clay’s early boxing career up to his bouts with Sonny Liston.

Malcolm and Cassius first met in 1962.

Malcolm and Cassius first met in 1962.Clay, after winning Olympic Gold at the 1960 Rome Olympics, was making a name for himself by not only winning fights, but by his unique self promotion influenced by the wrestler Gorgeous George. Malcolm had no interest in sports believing it was just another way that the white establishment exploited the black man in America. However, he was immediately taken by the young contender. In many ways they were similar in that both were outspoken, charismatic, and couldn’t resist the limelight. Malcolm also recognized what an asset Clay could be to the Nation. Having a popular and well-spoken athlete coming out in support of and even joining the Muslims would surely attract many new and young members. Elijah Muhammad, the leader of the Nation didn’t share this view. He not only was not interested in athletes, he also believed Clay was going to be destroyed when he stepped into the ring against Heavyweight Champion Sonny Liston. That would certainly not look good for the Muslims.

Roberts and Smith explain how Malcolm had from the beginning unwavering confidence that Clay would not only win the title, but would go on to become the Nation’s greatest asset. While he would prove to be right, it would also be his undoing.

Most people believe the Black Muslims are part of the Islamic religion practice throughout the world. In reality, under Elijah Muhammad, it was a Black Nationalist and separatist movement that was very much at odds with the Civil Rights Movement led by Dr. Martin Luther King. Muhammad considered King an Uncle Tom who was being subservient to the white establishment by demanding African Americans be fully integrated into society. The Muslims were envisioning an armed revolution with the goal of retribution and creating their own state.

There is much in this book that will make those who have looked up to Muhammad Ali as a great civil rights leader uncomfortable. For a large part of his career Clay/Ali preached separation of the races, though it can be argued his belief in this was not very deep but more of a young man taken in by a cult. It may have also been driven by fear. When asked why he was not joining in on the marches and demonstrations with Dr. King he responded that he did not want to go to a place where he would have dogs set upon him, be clubbed by the police, or worse. Also, once he was involved with the Nation he quickly learned about the punishment, quite often brutal, they would handout to those who did not stay in line.

It can also be questioned just how deep the friendship between Malcolm and Cassius was. The two were certainly very drawn to each other, but as much as Malcolm felt affection for Clay he also knew he would be a useful tool in advancing the cause and also Malcolm’s own stature within the Nation.

For Clay, Malcolm served as a father figure

For Clay, Malcolm served as a father figure one who could teach the barely literate boxer how to speak out on issues, even if he didn’t understand what he was talking about some of the time.

Malcolm’s biggest miscalculation was in believing his friendship and mentoring of Clay would protect him from retribution when he stepped beyond his bounds with the Nation. After Clay defeated Liston Elijah Muhammad also came to the realization of how useful Clay, upon whom he now bestowed the name of Muhammad Ali, would be to the Nation not only for propaganda purposes but as a financial asset.

Boxing has always been a shady sport with underworld figures in the background controlling and robbing fighters. Ali, who may have thought he was escaping being exploited by gangsters, had come under the control of another mob filled with hit men and leg breakers.

When Elijah Muhammad turned on Malcolm, Malcolm saw Ali as his protection only to have the champion turn his back on him. Ali joined in the chorus of those who wanted Malcolm punished and worse. Their friendship meant nothing to him any longer. He had a new father figure to please in Elijah.

The authors’ very detailed account of Malcolm’s last days, constantly under threat of assassination, is harrowing. Incidents such as when his home is firebombed while he, his wife, and two daughters are sleeping, make you feel what it is like to be a hunted man with very few friends.

 

A couple of minor points on the content. The authors describe the Nigerian born Hogan Kid Bassey as former world bantamweight champion. Bassey held the featherweight title. In the chapter about the lead to Clay’s first fight with Liston they say that Sonny stood to make millions from the fight. I don’t recall any heavyweight champ from that era making millions from one bout. I would be curious to know how they determined that figure. Neither of these two items takes anything away from this very fine book.

This is an important book that will leave you rethinking your opinion of Muhammad Ali.

This is an important book that will leave you rethinking your opinion of Muhammad Ali.It is in no way an attack on one of the greatest fighters of all time. It is an unbiased look at a flawed human being and a tragic friendship that will leave you asking. What if?

Seaglass Presents: It’s Showtime – Opening Night

The Seaglass Chorale In Concert

SeaglassFresh off of their very successful performance, Reflections and Meditations, Seaglass Chorale turns to the Broadway stage for their next concert. Under the direction of Jean Strazdes the group will present a selection of music from a number of the great musicals including Wicked, The King and I, and Fiddler On The Roof. 

There will be two performances. The first will take place on Saturday, May 7th at Christ Church, Dane Street, Kennebunk, ME beginning at 7:00 P.M.

The second concert will be held the following day which is Mothers’ Day and will take place at the Wells Historical Society, 938 Post Road, Wells, ME. The performance begins at 3:00 P.M. and as a special treat, all the mothers in attendance will receive a special Mothers’ Day carnation

Kim Karchenes will be featured on piano accompanying the lovely voices of the Seaglass Chorale.

This promises to be a wonderful concert

This promises to be a wonderful concert and a very special treat for the Mothers’ Day weekend.

Tickets are priced at $15.00 for adults and $12.00 for children and seniors. They may be reserved by calling 207-985-8747 or by going to seaglass [at] gwi [dot] net

Springs Toledo Delivers With In “The Cheap Seats: Boxing Essays”

Boxing Writing At Its Best In This Fine Collection 

by Bobby Franklin

Springs Toledo is back with another collection of essays on boxing.

Springs Toledo is back with another collection of essays on boxing. In 2014 his first collection, The Gods of War, was widely acclaimed. It has joined the ranks of boxing classics.

With this latest collection, In The Cheap Seats, he has created another contender. I am not sure it will go on to winning a world title the way The Gods Of War did, but it certainly deserves a wide readership.

In The Cheap Seats
In The Cheap Seats

Many of the essays contained in this latest work by Mr. Toledo focus on more recent fights and fighters. Springs makes connections with the styles and personalities of past greats and those vying for greatness today. He does a fine job of this, but I have a hard time buying a lot of the comparisons. Maybe I am just old and cranky, but to me the glory days of boxing have long passed. While Springs does a wonderful job of linking the past with the present, he knows boxing history and understands the art, I sometimes found myself questioning if he truly believed what he was writing or was trying to convince himself as much as his readers about the quality of today’s sport.

He points out how when Henry Armstrong held three world titles simultaneously there were only a total of eight recognized divisions. It is staggering to look back on that time with the competition Armstrong faced and comprehend his accomplishment. Springs has written about the proliferation of divisions and titles that exist today which makes having a multi belt holder nowhere near the challenge it was in Armstrong’s time, so I wonder why he felt if Floyd Mayweather had added a middleweight title to his array of belts it would have put him up there in stature with the great Henry Armstrong. I am not trying to take anything away from Floyd, but it is a very different sport now than it was in 1938. Again, maybe I am just too jaded to get excited about almost anything in today’s world of boxing.

In The Cheap Seats has many other great essays contained between its covers.

Mr. Toledo’s piece on Bruce Lee and the influence boxing had on him is fascinating to read.

Mr. Toledo’s piece on Bruce Lee and the influence boxing had on him is fascinating to read.Not only does he explain how Lee adapted his martial arts style because of boxing, but, and here is where Springs’ knowledge of the fine points of the Sweet Science come into play, he explains the difference in defensive posture that gives a boxer the upper hand. It is essays like this that set him apart from so many of those who think they know the sport and try to write about the mechanics of boxing. I once remember a self appointed authority on boxing giving a lecture and telling the audience that it was impossible for a boxer to throw a double left hook. These pretenders should not be allowed to use up the perfectly good paper that could be utilized by writers like Springs Toledo.

I found myself really getting into the rhythm of Toledo’s writing when he was recounting a conversation he had in Hyannis, MA with former welterweight contender George Maddox. Using the magic of his pen Springs captured the humanity of this wonderful man. I know George and what I read could only be compared to a fine portrait of him painted by a great artist. This is Springs at his best, describing the movements and words of an eighty-one year old former boxer who still takes great pride in his accomplishments. In just a few paragraphs you will come to know George Maddox. You will also feel the respect the author has for such men. It is beautiful stuff.
There is much more to savor in this collection. In Where Have You Gone Harry Greb? you find out why the Pittsburgh Windmill is rated by Springs as the greatest pound for pound fighter ever.

You get the inside scoop on the sparring sessions between Greb and Jack Dempsey

You get the inside scoop on the sparring sessions between Greb and Jack Dempsey that will lead you to seriously wonder if Harry could have taken the Manassa Mauler. I believe Springs thinks Harry could have done it. I think it would have been a great fight and a difficult one for Jack, but his strength would have won the battle.

You’ll also get to read interesting pieces about how if boxing was more widely taught there could be less need for people to use guns. This subject is discussed in the context of the George Zimmerman and Trayvon Martin tragedy. Springs strips away the knee jerk emotions on all sides of the controversy and takes a measured look at how to prevent such things from happening. It is a refreshing piece to read in this age of media sensationalism.

There is even a chapter devoted to the effects a vegetarian diet can have on punching power. Being a vegetarian myself it has made me want to get to the gym and test out my old left hook.

Springs closes out his fine collection with a piece about Mae West and her connection with the boxing world. It is a very interesting piece about a one of a kind personality, and will go down as a classic.

Springs Toledo
Springs Toledo

While I find it difficult to share Springs Toledo’s love of present day boxing, I do enjoy his writing. He is a throwback, an old school writer along the lines of A.J. Leibling whom he admires. Throw in a dash of Raymond Chandler and stir it up with Springs’ own unique style and you have a writer who leaves you wanting more. Many younger readers of these essays will be hearing about the greats of the past for the first time. I hope, and believe they will, be inspired to find out more about the rich history of this great sport.

Jim McNally: Teaching Old School Boxing To A New Generation

 

by Bobby Franklin

Gentleman Jim McNally
Gentleman Jim McNally

Driving up to Jim McNally’s gym in North Reading on a cloudy Tuesday in April I am on the phone with the former professional boxer explaining why I am running late. In the course of our brief conversation I find out Jim’s father Bernie, who was a hard punching heavyweight fighting out of Cambridge during the 1940s, trained at the Cambridge YMCA. My father, who was a professional wrestler, worked out there at the same time. We spent some time going over mutual acquaintances our father’s had and soon realized they must have known each other. Another of those it’s a small world experiences.

I arrive at Jim McNally Boxing a short while later. The sign outside of the former industrial building says Old School Fitness. Jim greets me as I enter and I immediately feel as if we have known each other for years. He looks like he’s at his fighting weight and could go ten rounds without a problem.

Jim McNally
Jim McNally

Gentleman Jim, as he was known during his fighting days, had an impressive professional career racking up 19 wins against only 1 loss. His quest for glory came to an end due to an injury received in an auto accident. Before turning pro Jim had an outstanding amateur career, He won the NE AAU heavyweight title in 1975 and 1976, then won the light heavyweight title in 1977 which took him to the National Finals in Hawaii. Yes, I was feeling just a bit envious. Jimmy also lost a split decision to future World Heavyweight Champion Tony Tubbs in the 1976 Calgary Games. Not bad for a local kid.

After ending his boxing career McNally went to Northeastern University then on to serve 4 years with the Wilmington Police Department, 7 years with the Secret Service, and finally a 22 year career with the Bureau of Alcohol, Tobacco, and Firearms (ATF). After his years of public service Jim opened the boxing gym, returning to the sport he had never lost his passion for.

Jim with Gene Beraldi and Danny Cronin
Jim with Gene Beraldi and Danny Cronin

As we continue our talk, gym members start showing up for their workouts. Jim tells me he doesn’t have a firm schedule for classes, “I run a class every four minutes” he tells me. What I observe is something not seen in a lot of boxing gyms today, something that is much more old school. As each aspiring boxer comes into the gym he or she goes right to work. They wrap up their hands and start going through the boxer’s workout. Shadow boxing, heavy bag, speed bag, calisthenics, skipping rope. I am impressed by how self-motivated they all are, but I am not surprised as Jim has instilled that drive in all of them.

As I listen to a couple of young students drumming the speed bag with a steady rat-a-tat, I ask Jim how long they have been training at his gym. “Just a couple of months for one and a little longer for the other.” They look like old pros as their hands move in rapid fashion against the small bag.

I mention to Jim how many boxing gyms either do not have any speed bags or, if they do, discourage the use of them.

This sport is rhythm, your own rhythm.

“This sport is rhythm, your own rhythm.You learn rhythm on the speed bag.” I couldn’t agree more.

The McNally Boxing Gym has a regulation size canvas floored ring in which I observe trainer Gene Beraldi doing pad work with a number of the members. I am not a big fan of the punch mitts, but the trainers at McNally’s are not just standing flatfooted in front of the boxers letting them plant punches. Instead, they are moving around the ring forcing them to use footwork and accuracy. That’s the old school touch.

As I look around I see an familiar face from years back. It is Danny Cronin who is here training his sons. Danny and I go back to the New Garden Gym days and we immediately start to reminisce about the old times. Danny was a very successful pro and one of the hardest punchers to ever lace on the gloves. Jim chimes in to say how his mother told him

“Boxing made your nose look better, it was kind of pointy.”

“Boxing made your nose look better, it was kind of pointy.”

The young people who come to McNally’s Gym not only get to experience what it is like to be in an old school boxing gym, they also learn lessons bout life, which is something boxing, when taught properly, instills in people. I like very much something Jim said while we were talking,

“Boxing is about overcoming obstacles – obstacles you put in your own way.”

“Boxing is about overcoming obstacles – obstacles you put in your own way.”That statement is true on so many levels.

As the time winds down for my visit I ask the young pugs who have just finished working out how they feel about the workout. “It’s fun.” “I feel tired but good.” I can tell by the smiles on their faces they have all had a great time. I can also see the admiration they have for Jim McNally who has time for all of them.

Jim With His Mother and Father
Jim With His Mother and Father

Jim, who has been going through some tough times with the loss of one brother and a cancer diagnosis for another tells me “Thank God for my gym. If I didn’t have this I don’t know what I’d do.” In almost Buddhist fashion, the good Jim gets from his gym is returned by him a hundred fold to those who come there. McNally, who sparred a couple of hundred rounds with Marvin Hagler, proved his toughness years ago. Everyday he shows his goodness.

Jim McNally’s Gym is located at 48 Main Street, North Reading. For more information call 978-664-1900. People of all ages are welcome.

Let It Be – A Celebration of the Music of The Beatles

Kicks Off The Ogunquit Playhouse 2016 Season

Let It Be - A Celebration of The Beatles (Photo Paul Coltas)
Let It Be – A Celebration of The Beatles
(Photo Paul Coltas)

You know summer is fast approaching when the Ogunquit Playhouse opens its doors for the season. This year they are are kicking off an exciting season with Let It Be – A Celebration of the Music of The Beatles. The show will run from May 18 to June 11 and promises to be an exciting evening of music from the Fab Four.

The tribute show follows the Beatles from their beginnings in Liverpool’s Cavern Club through the heights of Beatlemania, to their later masterpieces. Let It Be includes forty of the Beatles’ greatest hits including “Twist and Shout”, “She Loves You”, “Yesterday”, “Come Together”, as well as the title tune “Let It Be”.

Let It Be has played London’s West End and Broadway and will now get the full Ogunquit Playhouse treatment, so i am sure you will not be disappointed.

The cast of Let It Be includes Michael Gagliano, who has is spent the last 15 years perfecting his performances of the Beatle’s music on some of the world’s biggest stages from Liverpool’s Cavern Club to the Fuji Rock Festival in Japan, as well as on television all over the world; Neil Candelora, who as a six year old he saw a recording of The Beatles performing on The Ed Sullivan Show and decided to learn to play guitar left handed; JT Curtis, who made his Broadway debut in Let It Be and has performed with several Beatles tribute acts from Los Angeles to New York; Chris McBurney, who also reprises his role from the Broadway production of Let It Be and has toured as a drummer and multi-instrumentalist all over North America, Europe and Japan with numerous acts, while continuing to perform and record in New York.

The Music Director for Let It Be is Daniel A. Weiss, a New York City based musician who was most recently seen music directing and arranging for a sold out performance of West End Recast in London, a concert featuring many of the West End’s finest singers. Mr. Weiss was the assistant musical director and associate conductor for the original Broadway company of Rent.  He has a multitude of Broadway credits for both conducting and/or performing, including Let It Be, Motown the Musical, Godspell, Hair, Taboo, Hairspray and Brooklyn.

Contact the Playhouse for tickets including information about season packages.

Go to:www.ogunquitplayhouse.org or call 207-646-5511

 

“Oklahoma!” At The Trinity Rep

 

Oh, What A Beautiful Production

This is an Okalahoma! not to be missed.

reviewed by Bobby Franklin

Charlie Thurston as Curly and Rachael Warren as Laurey (center) Photo by Mark Turek
Charlie Thurston as Curly and Rachael Warren as Laurey (center)
Photo by Mark Turek

Rodgers and Hammerstein’s Okalahoma!, now playing at the Trinity Rep in Providence, RI is an outstanding production of one of the greatest musicals of all time. It is staged in an intimate atmosphere that along with the stage, includes three platforms that are placed among the audience, and where much of the cast spends time during the performance. It works beautifully.

From the moment Curly, played by the very talented Charlie Thurston, steps onto the stage to sing Oh, What A Beautiful Morning, you know this is going to be a joy to watch.

Mr. Thurston has a perfect voice for the role

Mr. Thurston has a perfect voice for the role and the acting ability to go with it. He is joined by Rachel Warren as Laurey, and they are wonderful together; you would think the roles were created for just them. They sparkle and hearing them sing is delightful.

Judd (Joe Wilson) and Curly (Charlie Thurston) Photo by Mark Turek
Judd (Joe Wilson) and Curly (Charlie Thurston)
Photo by Mark Turek

There is a dark side to Okalahoma! that is seen in the character of Judd Fry played by Trinity regular Joe Wilson, Jr. Mr. Wilson uses his excellent acting abilities to bring a humanity to a very dark figure in the play. I have not seen many productions of the play, but I do know that Joe was able to evoke sympathy from the audience for Judd, whom many will remember mostly as the evil creature portrayed by Rod Steiger in the movie version. With his subtle and pained expressions he brought a depth to a character that deserves to be better understood, and, in this version, is.

This is not, of course, a full scale Broadway production, but in many ways it is better. It does have an orchestra consisting of six musicians who are as good as any you will hear. They are on the mark throughout the play, and you couldn’t ask for more.

Rebecca Gibel as Ado Annie Carnes and Stephen Thorne as Ali Hakim Photo by Mark Turek
Rebecca Gibel as Ado Annie Carnes and Stephen Thorne as Ali Hakim
Photo by Mark Turek

The entire cast is nearly flawless. Janice Duclos as Aunt Eller conveys a strength of character and kindness. Stephen Thorne in the role of Ali Hakim keeps us smiling as the traveling salesman who is trying to avoid a shotgun wedding. Jude Sandy as Will Parker makes the audience feel like shouting to him as the character seems determined to keep making the wrong decisions. Jude is always just one step away from losing everything.

Finally, included in this great cast is Rebecca Gibel as Ado Annie.

Ms Gibel has talent, real talent.

Ms Gibel has talent, real talent.She is funny, sings beautifully, and can act. The way she conveys Annie’s pent up sexuality by using body tremors along with her facial expressions and absolutely entrancing eyes is just breathtaking. Oh, and she is funny, very funny. In a cast that is abundant with talent, Rebecca Gibel showed that she has what it takes to go far. I look forward to seeing her as she continues on what should be a marvelous career.

This is an Okalahoma! not to be missed. It is warm and intimate. It is full of life’s good and bad. Be good to yourself and travel the short distance to Providence to see this play. You will not be disappointed.

 

Directed and Choreographed by Richard and Sharon Jenkins

Playing through June 5th

Box Office: 401-351-4242 www.trinityrep.com

SpeakEasy Stage’s Dogfight: Solid, Touching, Emotional

reviewed by Bobby Franklin

SpeakEasy Stage Company is closing out their 25th anniversary season with a very strong production of Dogfight directed by Paul Daigneault. The New England premiere of the musical is based on the 1991 film and screenplay by Bob Comfort, and with music by Benj Pasek and Justin Paul.

Hey Good Looking' Photo: Glenn Perry Photography
Hey Good Looking’
Photo: Glenn Perry Photography

Most of the story takes place on November 21, 1963 and focuses on three young Marines, Eddie Birdlace, Bernstein, and Boland who refer to themselves as the Three Bees. They are to be deployed the following morning to Southeast Asia and are embarking on a game the Marines call Dogfight. It is where each recruit puts up money that is pooled and will be awarded to the man who can bring the ugliest woman to a party they are having. It is demeaning to women but also serves the purpose of removing any sense of empathy from men who are about to be sent into combat.

Eddie and Rose (Glenn Perry Photography)
Eddie and Rose
(Glenn Perry Photography)

Eddie, (Jordan J. Ford) finds waitress Rose Fenny (Alejandra M. Parrilla) at a local dinner and sweet talks her into attending the party with him in the hope he has found his winning date. Rose is caught up in his flattery and is thrilled to go. The others are also finding their mates for the evening.

It would be easy to settle in at this point and see this play as being about women being objectified. It runs much deeper than that. While what the Three Bees and the other soldiers are doing is cruel, it is also juvenile and demeaning to them as well. But, they are required to give up much of their sense of humanity considering they will soon be in a very inhumane environment. They are young and, because of their weeks of basic training, feel prepared for anything the world will throw at them. Instead of this being about a group of young men acting like jerks,

it has much more serious overtones considering what is about to happen in their lives

it has much more serious overtones considering what is about to happen in their livesand in the world.

Rose is no victim. While she is deeply hurt when she finds out what Eddie was up to, she is also touching him deeply with her warmth and confidence. Eddie at first saw an overweight and insecure girl, but fast begins to learn much about himself and life from Rose. He finds it is not so easy to be cruel. As the story unfolds we are touched on many emotional levels. As one audience member stated after the performance, “I have learned to always bring a box of tissues to a SpeakEasy production.”

The play does have a number of funny and warm moments that will make you smile. Alejandra M. Parrilla as Rose and Jordan J. Ford as Eddie are simply wonderful in the restaurant scene where Rose shows she can match Eddie’s tough guy bravura as well as add a very strong wit. Her kindness is also infectious and is breathed in by Eddie. Their touching duet First Date, Last Night sung while gazing at San Francisco from the Golden Gate Bridge is a beautiful love song.

As the story moves forward in time, much has to be compressed and Director Paul Daigneault does magnificent job of putting so much into so short a time on stage. It really is a bit overwhelming but important as it conveys so many feelings that force us to think hard about all we have just seen.

Ms Parrilla and Mr. Ford are supported by a solid cast

Ms Parrilla and Mr. Ford are supported by a solid castthat includes Jared Troilo (Boland) and Drew Arisco (Bernstein). Patrick Varner will be suffering from a multi personality disorder after playing seven parts, but he handles every one of them just fine.

The theater is set with the audience sitting on three sides of the stage. This, along with two movable staircases, is extremely effective. A beautiful score, fine musical direction, and the intimate atmosphere along with this cast have very talented young actors makes this a play not to be missed.

I know I often say this after seeing a SpeakEasy production, but I left the theater with much to think about, and with much to feel.

We are lucky to have such a great company in Boston.

We are lucky to have such a great company in Boston.I hope you go down to the Calderwood Pavilion and spend a couple of hours being touched by these fine young actors.

Playing through June 4th at The Calderwood Pavilion, 527 Tremont Street, South End, Boston

617-933-6100

http://www.bostontheatrescene.com/season/dogfight/

 

 

 

 

The Beatles Rock The Stage At The Ogunquit Playhouse

 

84th Season Blasts Off Like A Rocket

Let It Be – A Celebration Of The Music Of The Beatles

reviewed by Bobby Franklin

Wow! Let It Be – A Celebration Of The Music Of The Beatles is burning up the stage at the Ogunquit Playhouse. This is not simply a tribute band performing Beatles’ songs; it is

a solid theatrical production that brings us back in time

a solid theatrical production that brings us back in timeand allows us to experience Beatlemania from its very beginnings and on up to the post band day when each member was working on his own.

Let It Be (Photo: Julia Russell)
Let It Be
(Photo: Julia Russell)

From the opening number, I Saw Her Standing There, you know you are in for more than just a night of nostalgic music. These five extraordinarily talented musicians, Neil Candelora (Paul McCartney), Michale Gagliano (John Lennon), Chris McBurney (Ringo Starr), JT Curtis (George Harrison) and Daniel A. Weiss (Keyboards) were tight and sharp. They were not only able to recreate the music, but they each also took on the look and personalities of the Fab Four at the different stages of their careers.

The show opens with the band playing behind a mesh material in what represents the Cavern Club in Liverpool where the boys got their start. The stage has two large television monitors in the style of early sets perched atop two gigantic transistor radios on each side of the stage. Live shots of the Ogunquit stage are seen on these screens interspersed with vintage footage from the various eras the Beatles played in. This is very effective and brings back so many memories of all that occurred during the group’s rise in popularity. We relive their appearances on the Ed Sullivan Show along with their sold out performance at Shea Stadium where they stood before over 55,000 screaming fans.

That excitement fills the Playhouse.

That excitement fills the Playhouse.
All the early numbers are there including Please Please Me, All My Loving, I want to hold Your Hand, and She Loves You. A marvelous animation accompanies A Hard Day’s Night, that is vintage perfect.

The Sgt. Pepper’s Lonely Hearts Club Band set is breathtaking

The Sgt. Pepper’s Lonely Hearts Club Band set is breathtakingwith the boys dressed up in full regalia to bring the album cover to life. It is magical. Projections on the back wall along with amazing lights that spin in multi colors on both the stage and the audience make this a very interactive show. John (Michale Gagliano) constantly eggs on the audience and gets a fantastic response. He looks like he is having a great time, and I think he would have stayed all night. This show will have you on your feet rocking with the Beatles for a good portion of the over two hours they are performing more than forty songs. You’ll be surprised at how well you know the lyrics as you sing along.

Let It Be (Photo: Julia Russell)
Let It Be
(Photo: Julia Russell)

JT Curtis as George not only has a wonderful voice, but he is a very talented guitar player. His solos on Here Comes The Sun and My Sweet Lord were fantastic, but his guitar solo on While My Guitar Gently Weeps was classic. The boys joked that Eric Clapton might make a surprise visit the evening I was there, but since he didn’t, JT certainly kept him from being missed.

Towards the latter half of the show the performance shifted to a what would it have been like if the Beatles had had a reunion mode. This could have been risky, but it worked just fine as the band got together and played the songs they had each written after having gone their own ways. This is just how it might have been. Chris McBurney (Ringo) was right on doing It Don’t Come Easy while perched high up on the drums.

Neil Candelora was Paul McCartney

Neil Candelora was Paul McCartneyon Band On The Run.

The entire cast captured the Beatles throughout every step of their careers as both a band and solo artists. We see them age before our eyes and got to, for those of us old enough to remember, see so much of what we grew up with. When I’m Sixty-Four had a very special meaning for many in attendance.

You would think all I described here would have been plenty, but they were not through yet. The Beatles, and by now I was fully convinced I was spending the evening with the Beatles, kicked off a tribute set to the greats that influenced them including Chuck Berry and Little Richard. They ripped out, with the crowd dancing and screaming their approval.

The Fab Four (Photo: Julia Russell)
The Fab Four
(Photo: Julia Russell)

I now feel like a late night television ad man when I am saying there was still more. The title song, Let It Be, was as touching as ever. Hey Jude had everyone singing along, and Back In The USSR sent us out rocking.

I would also like to note that during the performance of Imagine the boys asked the audience to light up their cell phones and wave them during the song. What fun.

Daniel A. Weiss on keyboard is also the Music Supervisor, and he was also outstanding. This was a tremendous amount of music to present in one evening. Add to that the whole theatrical aspect of the show and this was one huge challenge. This team pulled it off on the stage of the Ogunquit Playhouse. Just incredible!

What a start to the season. I would urge all of you to

make tracks north and catch this show

make tracks north and catch this show. I would also strongly suggest you buy a season subscription to the Playhouse. If this is any indication, it is going to be a very exciting year in Ogunquit.

Let It Be – A Celebration Of The Music Of The Beatles

Through June 11th

Ogunquit Playhouse 207.646.5511

www.ogunquitplayhouse.org
Video:

Walk Like A Boxer

by Bobby Franklin

There was a time when you could tell a man was a boxer just by seeing him walking. You might be in a restaurant or hanging out on a street corner when a guy would walk by and you could see in his step that he had spent time in the ring. I’m not talking about a fighter who may have taken too many punches and was “walking on his heels”. I’m talking about the light step that most boxers possessed in the days before they were trained to bulk up using weights and muscle building. A well-trained and conditioned boxer was always thinking about staying loose and limber. Even years after retiring, you would see that same agile way of moving in a former boxer. (I’m not sure former boxer is an appropriate term as it is something that, once you have done it, stays in your blood all of your life.)

“Stay away from the weights” was a line heard often from the old time trainers, “They only make you tight and slow.” Back in the days when boxing was taught as an art and not a strong man contest, speed, accuracy, and staying loose was emphasized. “Speed beats power”, “If you are too tense you will be more susceptible to being knocked out”, “Get up on your toes and move”, “Stick and move”, I can still hear these words echoing in my head from my days in the various boxing gyms I trained in.

Now, many people may think I am just talking about the stick and move boxers, but you will see this in the vast majority of boxers regardless of their style.

The ferocious Jack Dempsey moved like a cat stalking his prey.

The ferocious Jack Dempsey moved like a cat stalking his prey.In the Willard fight he is darting in and out. His body is lean and not muscle bound. He has a boxer’s physique, strong in all the right places without being encumbered by bulging muscles that would only slow him down.

Gregorio Peralta and Jack Dempsey
Gregorio Peralta and Jack Dempsey

When I was young I got to meet Dempsey in NYC. To this day I remember seeing him walking through his restaurant to greet visitors. He was up there in age and suffering from arthritis in his hips, but he still moved as if he were gliding across the floor, ready to move left or right and throw a counterpunch. Jack Dempsey still had it.

Today’s boxers are missing out on so much with the focus being on building up muscle. Weight trainers are brought in and muscle is layered on. While a fighter has to be strong, there are different types of strength. So often now a days, the spectacle that takes place at the weigh in before a match looks more like a pose-off at a body building competition with the fighters tensing and pumping up their muscles while mugging for the cameras. These bulky muscles are not only useless in the ring, but they are actually a hindrance as they make it almost impossible to use proper punching technique. It also results in more arm punches being tossed than shots that come from the hips with the full force of the body behind them. Fighters are also more susceptible to being knocked out because of how tight they are. It is much more difficult to “roll with the punches” when carrying that kind of muscle. Of course, that is pretty much a moot topic seeing that fighters are no longer taught defensive moves such as that.

I recently watched a brief video of Jake LaMotta training for a fight. It showed him climbing the stairs up to Bobby Gleason’s Gym in The Bronx where he was working out. Now Jake is hardly remembered as a dancing master, but you can see how light he is on his feet as he bounds up the steps. After the workout, he is seen outside walking down the street. If you had no idea who he was you would still know he was a boxer by the way he was moving along the sidewalk.

If you had no idea who he was you would still know he was a boxer by the way he was moving along the sidewalk.

Why the difference between those fighters from earlier days and the boxers of today? Well, when you went into a gym years back you would see fighters shadow boxing, moving in front of a mirror practicing their form, stretching and shaking out their arms and legs. They were very focused on staying limber. When they would hit the heavy bag they would “work it”, which meant boxing it. Instead of just standing in front of the bag they would circle it and practice footwork as well as punching. In the older gyms there was usually space around the bag so the fighters would have room to do this. In many gyms today the bags are lined up close to each other. Now, you often see fighters just standing flatfooted in front of the bag, their feet planted while they are winding up with punches that are telegraphed as if they were being sent by Western Union. It’s no wonder that is happening since most of the time they spend working with a trainer is wasted while going through the silly mitt punching routine that reinforces these bad habits.

A good boxer has to know how to use his entire body. He needs the grace of a ballet dancer combined with the reflexive power of a trip hammer. Most importantly, he has to be taught how to think in the ring, not to just go through mindless motions. Think, stay loose, find rhythm, treat the sport like the art form it once was.

Ali Running
Ali Running

When I was a young boxer I hated doing road work, today it is called running. Most of us disliked it back then but knew it was important so we did it. As much as I hated it, whenever I saw a clip of Muhammad Ali out on the road it inspired me to go out and put in a few miles. Why? Because Ali encompassed why it was called “road work”. He would be running with a step as light as Bill Rogers, turning on his toes, running backwards and forwards while throwing punches; all the time staying loose. It was beautiful watching him move. I’ll bet he never lifted a weight in his entire life, but he had the kind of strength a great fighter possesses.

Those days are now long in the past.

Boxing has changed, and it is not for the better.

Boxing has changed, and it is not for the better.You can no longer spot a fighter by the way he walks. That is because they are no longer artists and the sport is no longer an art form. It is sad.

Broadway’s Andrea McArdle to Star as Reno Sweeney in Ogunquit Playhouse Production of Anything Goes

Opens June 15th

Andrea McArdel and Company in Anything Goes (photo by Jeff Bellante)
Andrea McArdel and Company in Anything Goes (photo by Jeff Bellante)

 Ogunquit, ME—The Ogunquit Playhouse sets sail with the delightful, Tony Award-winning Anything Goes June 15 to July 9. This splendid madcap musical comedy stars Broadway’s Andrea McArdle as Reno Sweeney and features two-time Emmy Award winner Sally Struthers as Evangeline Harcourt. This tap-happy classic finds a brassy nightclub singer, a starry-eyed stowaway and Public Enemy No. 13 booked on a transatlantic luxury liner bound for romance and hilarity. When the S.S. American heads out to sea, etiquette and convention get tossed out the portholes.

Topping off the fun is Cole Porter’s delightful, delicious, “De-Lovely” first-class score

Topping off the fun is Cole Porter’s delightful, delicious, “De-Lovely” first-class scorethat includes some of musical theatre’s greatest hits, including “I Get A Kick Out Of You,” “You’re The Top,” and of course, “Anything Goes.” Anything Goes features music and lyrics by Cole Porter with original book by Guy Bolton, P.G. Wodehouse, Howard Lindsay, and Russel Crouse and new book by Timothy Crouse and John Weidman.

 

Andrea McArdle returns to the Ogunquit Playhouse to portray Reno Sweeney. She was last seen at the Playhouse in 2006 as Sally Bowles in Cabaret and in the 2009 production of Les Miserables. She first captured the hearts of theatergoers everywhere in 1977 when she originated the title role in the mega-musical Annie and became the youngest performer ever to be nominated for a Tony Award as Best Lead Actress in a Musical. Since then, she has starred in several Broadway musicals including Jerry Herman’s Jerry’s Girls alongside Carol Channing and Leslie Uggams; Andrew Lloyd Webber’s Starlight Express; as Margy Frake in State Fair; as Fantine in Les Miserables and, most recently, as Belle in Disney’s Beauty and the Beast. She has also appeared in theatres in New York, nationally and internationally and has performed in concert halls from Carnegie Hall to the Hong Kong Philharmonic and casino hotels in both Las Vegas and Atlantic City.

 

Two-time Emmy Award and Golden Globe Award winner

Sally Struthers
joins the cast as the socialite Evangeline Harcout.

Sally Struthers joins the cast as the socialite Evangeline Harcout.She is probably best known for her role as Gloria in the groundbreaking TV series All in the Family. She has also starred in the Fox television series 9 to 5 and her own CBS series Gloria as well as recurred on the CBS comedy Still Standing and the CW network’s highly acclaimed Gilmore Girls. Ms. Struthers joined the Gilmore cast for Netflix’s new four movie limited revival, which will premiere in the fall of 2016, and recently guest starred in the acclaimed IFC comedy series Maron. Sally Struthers has performed many roles at Ogunquit Playhouse including last season’s Nice Work If You Can Get It, as Louise Seger in Always, Patsy Cline, Mama Morton in Chicago, Paulette the hairdresser in Legally Blonde and as Felicia Gabriel in The Witches of Eastwick.

 

Playing Moonface Martin is Ray DeMattis who was last at the Ogunquit Playhouse as Coach VanBuren in Damn Yankees, The Red Sox Version. On Broadway he has appeared in Little Shop of Horrors, City of Angels, Zoya’s Apartment, and the original production of Grease. He has also performed in many Off-Broadway shows and regional theatres across the U.S. as well as in film and several television series including The Sopranos, Everwood, and Law and Order.
Josh Canfield joins the cast as Billy Crocker. He performed in the Broadway production of Doctor Zhivago and will appear in the upcoming Broadway production of Natasha, Pierre and the Great Comet of 1812 with Josh Groban. He has appeared on the hit CBS television series Survivor: San Juan Del Sur, and the BBC’s Any Dream Will Do. Mr. Canfield has also appeared in many regional theatre productions including Godspell, Hair, Sail Away, and Iron Curtain.
Also in the cast are Patti-Lee Meringo making her Ogunquit Playhouse debut is as Hope Harcourt; Steve Brady as Elisha Whitney, who appeared in last season’s Nice Work If You Can Get It; Ian Knauer as Lord Evelyn Oakleigh, who is also making his Ogunquit Playhouse debut and has appeared on Broadway in Dames at Sea, Mamma Mia!, By Jeeves and State Fair; and Mychal Phillips who returns to Ogunquit to play Erma after last being seen in the Ogunquit Playhouse production of White Christmas.

Helming the production is Jayme McDaniel who also directed the Ogunquit Playhouse productions of 2015’s sold-out White Christmas; Joseph and the Amazing Technicolor Dreamcoat starring Clay Aiken, winning Broadway World awards for best direction and choreography; and Singin’ in the Rain, for which he received an IRNE nomination for his choreography. He is currently a resident artist for EMK Productions in Seoul, South Korea where he has choreographed Rebecca, The Musical and the Yeston/Kopit Phantom and serves as Artistic Supervisor for Elisabeth and Marie Antoinette. He has worked as an associate director, director and/or a choreographer for dozens of shows across the U.S. and internationally, including Laughing Room Only on Broadway; Joseph… at North Shore Music Theatre; Singin’ in the Rain, Grey Gardens, Yankee Doodle and The Rocky Horror Show at the Ordway; The Student Prince, Camelot and Rags at Paper Mill Playhouse; Always, Patsy Cline, Evita, It’s a Fabulous Life, Chicago, Zombie Prom, The Merry Widow, People Like Us, They’re Playing Our Song, White Christmas, Wonderful Town, Sound of Music at the 5th Avenue Theatre and many others. As an arts administrator he was the Associate Producer for the Ogunquit Playhouse and the Associate Artistic Director for the Ordway Center of the Performing Arts. He’s also enjoyed a career on the stage as well, most notably in the final Nat’l Tour of Hello, Dolly! with Carol Channing.

Choreographer for Anything Goes is New York-based Jason Wise who was mentored by the legendary Tommy Tune. He has choreographed and staged musical numbers for over twenty productions in the United States and Canada for Perez Hilton, Karen Ziemba, Brent Barrett, Lee Roy Reams, Maureen McGovern, Karen Akers, Donna McKechnie, Faith Prince, Leslie Uggams, Christine Andreas, Jackie Hoffman, Bridget Everett, Julia Murney, Stephanie J. Block, Megan McGinnis, Paige Davis, Dustin Diamond, Howard McGillin, Dennis Haskins, Ed Alonzo, Ashley Brown, Andrea Martin, Billy Porter, Michael Urie, Linda Lavin, Tovah Feldshuh, Tonya Pinkins, and now Sally Struthers and Andrea McArdle. Mr. Wise’s television credits include Lifetime’s Dance Moms, NBC’s Smash, ABC’s Pan Am, and The Normal Heart for HBO. His work in film includes The Wolf of Wall Street and The Amazing Spider-Man 2.

Charlie Reuter returns to the Ogunquit Playhouse as Music Director after conducting last season’s award-winning production of Nice Work If You Can Get It. Most recently, he worked with Trevor Nunn to adapt an original score for Pericles for which he received a 2016 Drama Desk nomination for Outstanding Music in a Play. He has also served as assistant conductor for the Tony Award-winning musical A Gentleman’s Guide to Love and Murder at The Old Globe, and for Dreamgirls at The Muny starring Jennifer Holliday. Mr. Reuter other credits include Peter and the Starcatcher at La Jolla Playhouse; The Light in the Piazza at LPT and How the Grinch Stole Christmas at The Old Globe. Following his time in Ogunquit he will conduct the National Tour of Rodgers and Hammerstein’s Cinderella.

Mark your calendars now and get ready to see every show this year. Ticket packages are still available and are the best way to guarantee the best seats for the lowest price, starting at only $129 for a three-show Super Saver package. Individual tickets start at $47 each. To learn more about becoming a Playhouse member, or to purchase tickets and gift cards, visit www.ogunquitplayhouse.org or call the Ogunquit Playhouse Box Office at 207-646-5511.

The Ogunquit Playhouse is proud to be the New England premiere and one of the first regional theatres in the U.S. to produce the brand-new musical The Hunchback of Notre Dame July 13 to August 6. This epic tale of passion and hope is an emotionally charged retelling of the famous Victor Hugo love story set in 15th century Paris, created by two masters of stage and screen, composer Alan Menken (The Little Mermaid, Beauty and the Beast, Newsies, Aladdin) and lyricist Stephen Schwartz (Wicked, Godspell, Pippin). Get your glitter on for the outrageously fun Priscilla Queen of the Desert on stage from August 10 to September 3. Take the ride of your life with the hilarious and heartwarming Tony Award-winning Broadway musical, based on the Oscar-winning film, with a non-stop dazzling array of over 500 imaginative and outrageous costumes, 200 headdresses and the non-stop hit parade of hit dance numbers from the 70s and 80s. Pull up your boots and hold onto your hats when Seven Brides for Seven Brothers hits the stage September 7 to October 1. This all-dancing, all-singing, all-new production of the rip-roarin’ musical comedy classic bursts onto the stage with rambunctious energy. Elvis, Jerry Lee, Perkins and Cash return by popular demand! Million Dollar Quartet, the best-selling show in the history of the Playhouse, hits the stage October 5 to November 6 with the 2015 cast to once again to rock out the season with one mega-hit song after the next.

About the Ogunquit Playhouse:
The Ogunquit Playhouse, a 501c3 not-for-profit organization listed on the National Historic Register, is located on Route One in Ogunquit, Maine and produces the finest Broadway musicals each season with performances Tuesday through Sunday, from May 18 to November 6. Follow the Ogunquit Playhouse on Twitter (@OgunquitPH) and on Facebook (facebook.com/OgunquitPlayhouse) for behind-the-scenes info, photos and fun throughout the season. For a complete list of show times, pricing and more information about the season visit www.ogunquitplayhouse.org.

Photo Caption: Broadway’s Andrea McArdle stars as Reno Sweeney in the delightfully, delicious, “De-Lovely” Anything Goes at the Ogunquit Playhouse June 15 through July 9. The madcap musical comedy set on the ocean liner S.S. American is filled with Cole Porter’s greatest hits, a team of tap dancing sailors, and a whole lot of fun – especially when two-time Emmy Award winner Sally Struthers hops on board as Evangeline Harcourt to stir things up! Don’t miss the boat! www.ogunquitplayhouse.org or call the Ogunquit Playhouse Box-office at 207-646-5511 for tickets.

 

 

 

 

 

 

 

 

Roberto Duran

The Last Of The Great

Old School Fighters

by Bobby Franklin

Duran's Fist
Duran’s Fist

On May 16th “Hands of Stone” the movie biographic of Roberto Duran opened to mixed reviews at the Cannes Film Festival. The movie is scheduled to premiere in the United States in August. I am looking forward to seeing it. Duran is played by Edgar Ramirez with Robert De Niro portraying trainer Ray Arcel. Former boxing champion turned actor John Duddy steps into the role of Ken Buchanan.

While anticipating this movie I have been reflecting on the career of Roberto Duran. Not just his fights but his attitude, training methods, and amazing skills. I believe Duran was the last of the great “Old School” boxers. Roberto had a total of 119 bouts in a career lasting 34 years and in which he fought in five different decades. In that time he won five championships in four weight divisions. He began his career at 119 pounds and fought through the different classes going as high as light heavyweight. He was, of course, at his best while fighting lightweight where he dominated the division and will always be considered an all time great. He is ranked as the best ever by many boxing experts, and they certainly have a good argument for that view.

Leonard v Duran 1
Leonard v Duran 1

Duran won the Lightweight Championship from Ken Buchanan on January 26, 1972 and remained champion until 1979 when he vacated the throne in order to take on Sugar Ray Leonard for the Welterweight title in Montreal, Canada. In a superb fight, Roberto out boxed and outslugged Leonard over fifteen rounds and came away with the belt. It was the highpoint of his career. The great lightweight champion had proven he could step up in weight and defeat the best.

Of course, the glory was short lived as Duran foolishly agreed to a rematch just five months later. Roberto had not even finished celebrating his victory, and celebrating was something he did with as much passion as fighting, He had ballooned to 180 pounds and had to trim down very fast to make the weight for his title defense. He also was not mentally prepared for the fight. Many believe Leonard, along with his very shrewd manager Angelo Dundee, pushed for the quick rematch knowing Duran would not be at his best in such a short time.

The rest is history as Duran would forever have to live with the words “No Mas” after quitting in the 8th round. To this day there has never been a definitive explanation given as to why the fearless Duran just threw his hands up and relinquished the title. Duran has said different things at different times, but I don’t think he is even sure why he did it. My belief is he just was not up for the fight, got frustrated by Leonard’s brilliant boxing and decided to call it a night. It was one of those crazy moments that was completely out of character for the great champion. As a side note, Duran never actually uttered the words “No Mas!

Duran never actually uttered the words “No Mas!”

Now why do I call Duran the last of the great old school boxers? First off, unlike today’s overly cautious so called champions, Duran fought often and against everyone. After winning the Lightweight Championship he was back in the ring for a non-title bout just three months later. He fought an additional two times that same year including dropping a non-title ten round decision to top contender Esteban DeJesus. Instead of then avoiding DeJesus, Duran went on to give Esteban two shots at the title, stopping him both times.

From the time he won the Lightweight Crown until he gave it up in 1980 Duran fought 43 times in both title and non-title fights. He defended the championship twelve times. Over that period he absolutely dominated the division and was, next to Muhammad Ali, the most followed fighter. Every time he stepped into the ring there was excitement in the air.

Duran trained “Old School” and was taught “Old School” methods by Ray Arcel and Freddie Brown. He also had abundant natural talent, which made him reminiscent of Jack Dempsey. When you watch Duran in action you are not just seeing a brutal punching slugger in there, you are also seeing an artist at work plying his craft. He had the moves of a cat, the punch of a mule, and the cunning of a fox.

Duran v Hagler
Duran v Hagler

Look at almost any Duran fight and you will see brilliance. While watching him at his peak is always a pleasure for any boxing aficionado, I particularly enjoy viewing his 1983 match against Marvelous Marvin Hagler. Here was Duran long past his prime fighting way above his best weight against one of the greatest middleweight champions of all-time. On paper this should have been an easy win for Hagler, but Duran reached into his tool box, or perhaps I should say artist’s palette, to come up with an array of boxing moves that have not been seen since. He used body and head feints to confound Hagler.

He used body and head feints to confound Hagler.

He would work his way inside and appear to be about to go for a clinch when he would suddenly unleash a combination to the body. He was rolling with and slipping punches. He knew how to take breaks in order to catch his breath. Going into the 13th round Duran was actually ahead on two of the judges cards. Just amazing. Marvin, with his eye swollen, had to fight hard in the remaining rounds to secure the victory.

In my opinion, that loss made up ten times over for the “No Mas Fight”. Duran continued fighting until 2001and even managed to win the WBC Middleweight Title in 1989 by defeating Iran Barkley.

Duran was an all time great lightweight, an all time great pound for pound fighter, and a true “Old School Boxer”. It is doubtful the moves he executed in the ring will ever be seen again. For all the talk of him being a slugger, it must be remembered how difficult he was to hit. He had amazing defensive skills. Watching film of him gives you an idea of what great fighters used to do. I have included a video of Roberto teaching some young boxers in a gym in England. It is an absolute Master Class in boxing. You will learn more about the Fine Art of Boxing just watching this video than you will  from two or more years in most modern boxing gyms. “Old School Boxing” has become a lost art form. Carefully watching Roberto Duran in action will teach you a lot. Watching him giving pointers in a gym is pure gold.

Roberto Duran meets Brighton & Hove ABC from South Coast Productions on Vimeo.

 

“Anything Goes” Is A Delightful Sail In Ogunquit

Review: “Anything Goes” At The Ogunquit Playhouse Through July 9th

by Bobby Franklin

Put a classic Broadway musical into the hands of the artists at the Ogunquit Playhouse and it is pretty much guaranteed you will be in for a wonderful evening. The current production of Cole Porter’s “Anything Goes” is another example of the wonderful things that happen on the Playhouse stage.

Andrea McArdle and Josh Canfield Photo: Jeff Bellante
Andrea McArdle and Josh Canfield
Photo: Jeff Bellante

A great cast led by Andrea McArdle, Sally Struthers, and Josh Canfield make this play simply DeLovely. “Anything Goes” opens strong with Reno Sweeney singing “I Get A Kick Out Of You” to the object of her desires Billy Crocker. With such a strong and well delivered opening number I wondered if they were going to be able to continue the pace for the rest of the show. Well, Cole Porter knew his music, and the cast knows their Cole Porter.

Setting sail to “There’s No Cure Like Travel” led by the Captain (Seth Lerner) and “Bon Voyage” we learn that while Reno loves Billy, he is hopelessly in love with debutante Hope Harcourt (Patti-Lee Meringo) who is engaged to Lord Evelyn Oakleigh (Ian Knauer).

Everything becomes delightfully madcap as Billy stows away on board with plans to win Hope’s heart. While doing so he befriends Public Enemy #13, Moonfaced Martin played by Ray DeMattis who cracks an endless stream of one liners. While some are groaners, they are all funny with his superb delivery. Martin is disguised as a priest in order to evade the authorities, which creates for some awkward and very humorous moments.

Steve Brady, Sally Struthers, and Bradford Little T. Kenney Photo: Jeff Bellante
Steve Brady, Sally Struthers, and Bradford Little T. Kenney
Photo: Jeff Bellante

Sally Struthers, oh yes Sally, who returns to Ogunquit each year and never disappoints, is marvelous as Hope’s mother Evangeline. Ms Struthers brings out laughs with just a sidewards glance. She is as strong as ever in this production. In one scene she spends about fifteen seconds singing her way across the stage, but in this few seconds she has the audience roaring with laughter. She is such a treasure. Evangeline is being pursued by Elisha Whitney (Steve Brady) who is a bit of a tippler and the perfect match for her.

As I said earlier, it seemed that with such a strong opening it would be difficult for the cast to keep moving things along. The play only got stronger as each situation and song were brought out. Reno and Billy dancing and singing their way through a wonderful “You’re The Top” where we see Ms McArdle’s immense talent on display while being complimented by the very able Josh Canfield who was perfect in the role of Billy. Hope and Billy singing “It’s DeLovely”, the lively duet with Reno and Moonface performing “Friendship”, and the toe tapping “Blow, Gabriel, Blow” where Andrea McArdle and the cast light up the stage, all make this a fantastic evening.

Mychal Phillips and Cast Photo: Gary Ng
Mychal Phillips and Cast
Photo: Gary Ng

I have to mention two other numbers that were outstanding. Mychal Phillips as Erma burned up the stage while dancing her way along with the sailors to “Buddie, Beware”. The audience loved her.

Ian Klauer’s playing the very British Lord Oakleigh is sidesplittingly funny in his rendition of “The Gypsy In Me” as he tangos across the stage in John Cleese fashion. Oh, this was funny!

The cast is supported by a six piece orchestra directed by Charlie Reuter. Mr. Reuter and his musicians make it look easy. Choreography by Jason wise is step perfect, and the whole production is in the fine hands of director Jayme McDaniel.
Now, I have left out one new incredible rising young star who took the stage by storm in his debut. That would be charming, talented, four legged sensation Little Bradford T. Kenney. Never have I seen such a strong performance from a first time player. It might be noted that this Mr. Kenney, named after Ogunquit Playhouse Artistic Director Brad Kenney, is a Cairn Terrier and has quite the theatre background. Little Bradford was adopted from a kill shelter by Sally Struthers and went out on that stage a puppy but came back a star.

Andrea McArdle and Ray DeMattis Photo: Jeff Bellante
Andrea McArdle and Ray DeMattis
Photo: Jeff Bellante

Seeing a play on Broadway is now beyond the financial reach of many people, but that does not mean seeing a full fledged Broadway production is. The Ogunquit Playhouse gives us all you will get on the Great White Way and even more as they make their audience feel as if they have found a home there.

I am sure you will find “Anything Goes” delovely and leave thinking it’s the tops.

For ticket information contact the Ogunquit Playhouse at 207.646.5511 or OgunquitPlayhouse.org

The Regional Premiere of the Epic New Musical The Hunchback of Notre Dame

Set to Open July 13 at the Ogunquit Playhouse

2016_Hunchback_Header01

The Ogunquit Playhouse is proud to be the New England premiere of The Hunchback of Notre Dame, on stage from July 13 to August 6, making the Playhouse one of the first regional theatres in the U.S. to stage this new musical. Victor Hugo’s epic tale of hope, love

Sydney Morton (Esmeralda)
Sydney Morton (Esmeralda)

and passion, with book by Peter Parnell (On A Clear Day You Can See Forever Broadway revival) and music by composer Alan Menken (Newsies) and lyricist Stephen Schwartz (Wicked), soars to life in this emotionally charged retelling of the celebrated classic. The love story of the beautiful gypsy girl Esmeralda, the scorned bell-ringer Quasimodo and the dashing Captain Phoebus comes to glorious life in this powerful rendition of the timeless tale. The bold and dramatic theatrics, combined with the music’s orchestral power and choral beauty provided by a thirty-two member choir that accompanies the cast, promise to transport audiences back to fifteenth century Paris and inside the cathedral walls made famous by Victor Hugo’s novel.

F. Michael Haynie (Quasimodo)
F. Michael Haynie (Quasimodo)

The stellar cast is led by F. Michael Haynie who is making his Ogunquit debut as Quasimodo. On Broadway he performed in Wicked and Holler If Ya Hear Me, on television in Peter Pan Live for NBC, and the film Not Fade Away for Paramount. The beautiful gypsy girl Esmeralda is played by Sydney Morton who has performed as part of the original Broadway casts of Memphis, Evita, Motown and American Psycho, the National Tours of Flashdance and Jersey Boys, and appeared in The Sound of Music Live broadcast on NBC. Christopher Johnstone returns to the Playhouse as Captain Phoebus after playing Lt. Cable in the award-winning production of South Pacific (Best Actor nominee Broadway World). His many theatre credits include the National Tours of the recent revival of Evita, Lincoln Center’s production of South Pacific and regional productions of Fiddler on the Roof, A Little Night Music, and Pirates of Penzance, among many others.

Bradley Dean (Frollo)
Bradley Dean (Frollo)

Bradley Dean joins the cast as Claude Frollo. Mr. Dean is also making his Ogunquit debut and has appeared on Broadway in A Little Night Music, The Last Ship, Company, Doctor Zhivago, Spamalot, The Story of My Life, Evita, Jane Eyre, Man of La Mancha as well as many Off-Broadway, National Tours and regional theatre productions. Paolo Montalban joins the cast as Clopin. He was last seen at the Ogunquit Playhouse in The King and I (Lun Tha) and Cinderella (Prince Christopher). On Broadway he appeared in Breakfast at Tiffany’s, Pacific Overtures and Off-Broadway in Two Gentlemen of Verona, and The Romance of Magno Rubio, as well as many regional theatres across the nation. On television Montalban is most recognized as the Prince in the ethnically diverse ABC production of “Cinderella.”

Shaun Kerrison returns from England to direct this epic production for the Ogunquit Playhouse. He has directed many Ogunquit productions, receiving many IRNE and BroadwayWorld nominations for Best Director. Mr. Kerrison was last in Ogunquit in 2014 to direct Mary Poppins the Broadway Musical and The Witches of Eastwick and in 2012 he directed the Rodgers and Hammerstein’s classic South Pacific. He also directed the U.S. regional premiere of Sunset Boulevard at the Ogunquit Playhouse starring Stephanie Powers, as well as Les Miserables and My Fair Lady for the Ogunquit stage. On Broadway, Mr. Kerrison was the Resident Director of Mary Poppins and was the Associate Director for the Broadway revival of Les Miserables and he redirected the National Theatres production of My Fair Lady for its 50th Anniversary U.S. National Tour. He recently reunited with conductor John Wilson to direct Kiss Me Kate for the BBC Proms at the Royal Albert Hall.

Choreographer for the Ogunquit production of The Hunchback of Notre Dame is Connor Gallagher who recently received an Astaire Award for his work on The Robber Bridegroom at the Roundabout Theatre in New York City. His many show credits include the world-premiere stage adaptation of Disney’s Tangled with director Gordon Greenberg; Robert Schenkkan and Neil Berg’s The Twelve at Denver Center; The Fabulous Lipitones for Goodspeed; and Perez Hilton at Lincoln Center. Mr. Gallagher will next choreograph the Broadway-bound musical FOUND for the Philadelphia Theatre Company and as a director, a new musical with Disney Creative Entertainment for fall of 2017.

Fight Director Jacob Grigolia-Rosenbaum joins the creative team to direct the fight scenes in the show. He has worked on many Broadway productions including Bloody Bloody Andrew Jackson, Peter and the Starcatcher, Cyrano de Bergerac, and On the Twentieth Century as well as many Off-Broadway and regional theatre productions and the television production of Peter Pan Live for NBC/Universal.

Brent-Alan Huffman returns to Ogunquit Playhouse as Conductor/Music Director after having conducted last year’s Playhouse hit Sister Act. Mr. Huffman conducted the recent Billboard number 1 cast recording of Hunchback of Notre Dame, and was Conductor/Music Director for the original U.S. companies in 2014-15. His Broadway credits include Leap of Faith, Disney’s The Little Mermaid and Beauty and the Beast, and National Tours include Sister Act, Little Shop of Horrors and Beauty and the Beast. For television he served as Production Music Coordinator on ABC’s The Music Man starring Matthew Broderick and Kristin Chenoweth, and as Associate Music Producer on NBC/Hallmark’s A Christmas Carol starring Kelsey Grammer. Assisting Mr. Huffman is Associate Music Director Jeffrey Campos and Chorus Master Wendell Scott Purrington.

An all new set has been designed by Adam Koch exclusively for the Ogunquit stage that reaches out over the audience complete with areas for Quasimodo to venture. Mr. Koch previously designed sets for the Ogunquit Playhouse productions of Sister Act and Saturday Night Fever. He has designed sets for theatres across the nation, including the landmark outdoor production of Carousel and The Sleepy Hollow Experience for Serenbe Playhouse; the original Chicago production of Million Dollar Quartet at the Apollo Theatre; Hello, Dolly! for Ford’s Theater; Miss Saigon, Dreamgirls, Kiss of the Spiderwoman (2008 Helen Hayes nomination), and See What I Wanna See for Signature Theatre; and Bat Boy for 1st Stage for which he received a 2015 Helen Hayes nomination. His Off-Broadway credits include Rooms: A Rock Romance, Loaded, We the People, Pinkalicious and Freckleface Strawberry. Associate Scenic Designer Steven Royal, who has collaborated with Adam Koch on over thirty musicals, plays and live events including Miss Saigon (Signature Theatre), Carousel (Serenbe Playhouse) and Hairspray (Syracuse Stage) also joins the creative team for the Ogunquit Playhouse.

Also joining the creative team for Ogunquit Playhouse is Costume Designer Martha Bromelmeier who designed costumes for hundreds of theatrical productions including The Kennedy Center Honors, The New Victory Theatre, The Cocteau Rep, The Lucille Lortel Theatre, and Primary Stages among many others. Martha has worked with leading ladies including Patti LuPone, Glenn Close, Audra McDonald, Sutton Foster, Kelli O’Hara, Jessie Mueller, Laura Benanti, Laura Osnes, Patina Miller and Anna Kendrick.

Visit OgunquitPlayhouse.org or call the box office at 207-646-5511 for tickets.

Shadow Box, A Second Look At An Amateur In The Ring

by Bobby Franklin

Shadow Box: An Amateur In The Ring
By George Plimpton
(Little Brown, 347 pages, $20.00)

Shadow BoxEvery young man who steps into a boxing ring for the first time sees himself as a future champion. Appearing so basic in its nature, prizefighting is the one sport where it doesn’t take a lot of imagination to see one’s self as landing that knock out blow against the champion and taking the title. Reality is a bit different.

For many, that first experience getting punched on the nose by a blow that seemed to come out of nowhere is enough to send even the most imaginative packing and leaving the gym never to return. For others, it is just the thing that gets the adrenalin flowing and the desire spiked to move forward in pursuit of the nearly impossible dream.

George Plimpton was the editor of the The Paris Review from 1953 until his death in 2003. He was also a frequent contributor to Sports Illustrated Magazine. Mr. Plimpton earned a reputation as a participatory journalist by stepping onto the mound to throw against a number of MLB All Stars, play quarterback briefly for the Detroit Lions (he lost thirty yards in his few minutes on the field), and being beaten at golf by Jack Nicklaus and Arnold Palmer among other things.

In 1960 he also decided to experience boxing first hand. Now most people would have gone to a boxing gym and taken a few lessons, stepped in with a sparring partner of similar experience and gotten a good taste of what it is like to be in the ring. Not so in Plimpton’s case. His first choice of opponent was Heavyweight Champion Floyd Patterson. When that arrangement failed to materialize he moved down a weight class and sought out Light Heavyweight Champion Archie Moore. The Old Mongoose agreed to meet George in the ring at Stillman’s Gym in New York City.

He recounted his session with Moore in Shadow Box: An Amateur In The Ring first published in 1977 and now reissued by Little Brown as part of a delightful set of the sports books by George Plimpton. This title is one of seven in the group, and it is a wonderful read.

I first read Shadow Box in 1977 while I was still active in the ring. Rereading it now has brought back so many memories of that time when boxing was quite different than it is today.

Moore and Plimpton (Photo: Walter Daran)
Moore and Plimpton
(Photo: Walter Daran)

Mr. Plimpton begins with his bout with Archie Moore. He took this match quite seriously enlisting a professional boxing trainer to prepare him for the fatal day. He also read numerous books on the subject and learned he was not unique among writers in getting into the ring with a champion boxer. The poet Arthur Craven, reputed to be the nephew of Oscar Wilde, fought Heavyweight Champion Jack Johnson in Paris. It should be noted that Mr. Plimpton fared much better in his match against Archie Moore.

George had one fatal flaw as a boxer, something he called the “sympathetic response”. This was an involuntary reaction to being hit that resulted in tears flowing from his eyes giving the appearance he was crying. This reaction was a far cry from the Sonny Liston stare and would hardly send chills done the spine of an opponent.

The three rounds with Moore went well in front of a large crowd that had gathered in Stallman’s for the event, and George was very proud of the bloody nose he came away with.

The book moves on from there to many interesting experiences Mr. Plimpton had in the boxing world as well as some wonderful stories about authors such as Ernest Hemingway, Norman Mailer, and Truman Capote. In one of these tales we learn of how the author attempted to arrange a meeting between Hemingway and Mailer, but it never happened. Perhaps, this was for the better as any restaurant the two would have met in almost certainly would have been busted up. We also learn that Mailer was undefeated at thumb wrestling.

Some of the best parts of the book are about the time Mr. Plimpton spent with Muhammad Ali and his covering both the first Frazier fight as well as the Foreman fight in Zaire.

The author was in Ali’s dressing room immediately after the Frazier bout and describes the pain Muhammad was in after his fifteen rounds with Joe. Most fans are not aware of just how much punishment boxers take in a fight, and this was no ordinary fight. Ali was exhausted and in excruciating pain. He could barely walk. I am sure the situation was as bad if not not worse in the Frazier camp. Mr. Plimpton’s wonderful writing brings this moment in boxing history vividly to life.

The last portion of the book is devoted to Ali’s fight with Foreman in Africa. After the press had arrived the bout was postponed for six weeks due to a cut eye the champion received in training. Being so far from home the writers stayed in Zaire for the six weeks. This leads to a number of tales such as the one where Norman Mailer thought he was going to be eaten by a lion.

Mr. Plimpton spends a number of pages writing about Hunter Thompson. Thompson was sent to cover the fight for Rolling Stone Magazine but didn’t go to the bout. I really don’t know why so many pages are devoted to Thompson as I really never understood why he was ever taken seriously, but it is an insight into the time.

The author talks quite a bit about Drew Bundini, Ali’s sidekick. Mr. Plimpton refers to him as Ali’s trainer. In one depressing scene Ali belittles Bundini and slaps him in the face in front of a roomful of reporters. Mr. Plimpton, who worshiped Ali, says he hated him at that moment.

Shadow Box is a delight. It is a book by an author who is a master with words. A man who brings the enthusiasm of the dedicated boxing fan along with just enough knowledge of the sport to make it all come alive. It is a book about the sport when it was much different and much more exciting. That excitement comes through on every page. If you have not already read Shadow Box, I urge you to do so. if you read it years ago, go to it again. You will not be disappointed.

The Hunchback of Notre Dame

An Epic Hit At The Ogunquit Playhouse

Reviewed by Bobby Franklin

Quasimodo (F. Michael Haynie) Photo: Gary Ng
Quasimodo (F. Michael Haynie)
Photo: Gary Ng

As I waited for the curtain to rise for the opening of The Hunchback of Notre Dame I was fascinated by what I could see of the set for this production. I read in the program notes it was designed by Adam Koch exclusively for the Playhouse. I have seen Mr. Koch’s work before and have been impressed, but his work for this production was beyond impressive, it was positively breathtaking.

Ladders, a movable staircase, giant cathedral doors, five large bells, a choir loft, cauldron, revolving stage upon the stage, all appearing and disappearing seamlessly from scene to scene. This, combined with superb lighting, created a visual epic that held the audience spellbound during the entire performance.

But sets alone do not make for a hit play. While drinking in the creative genius of Mr. Koch, something else began to happen on stage. An incredible story, dark yet touching, unfolded. This story was told by actors with talent who were playing at the top of their game.

As the play opens we see the word “Fate” in large letters over the stage. This word would stay with us as we watch events unfold and it will haunt us with the question: How much do we control our own destinies? One that mankind has struggled with throughout the ages.

Theatre is illusion, and when F. Michael Haynie first appears on stage we see him transformed into the part of Quasimodo right before our eyes. It is a stunning moment when he turns to face the audience, his face with just the right lighting, no makeup, and he is suddenly in full character. It is one of those moments in theatre that is never forgotten. Mr. Haynie goes on to give a full and outstanding performance for the rest of the evening. In a stage populated with talent, he shines.

Quasimodo is the illegitimate nephew of Claude Frollo the Archdeacon of Notre Dame. He took in his brother’s out of wedlock child, and to shelter him from the world, confined him to the belfry of the church where he serves as bellringer.

Frollo (Bradley Dean) Photo: Gary Ng
Frollo (Bradley Dean)
Photo: Gary Ng

Frollo, powerfully portrayed by Bradley Dean, is tormented by his feelings of guilt when he begins to feel lust for the beautiful gypsy Esmeralda portrayed by the very talented Sydney Morton. Mr. Dean takes the audience on an emotional roller coaster as he elicits feelings of warmth, pity, sadness, and anger in his descent into a darkness from within the soul of Frollo.

The magnificent score written by Stephen Schwartz and Alan Menken was originally created for the Disney film. It has been since updated with some songs removed and others added. Many of the songs heard in Ogunquit are being performed on stage for the first time. Some high spots among the many are The Bells of Notre Dame, the touching Out There sung from the tower by Quasimodo, the beautiful duet Someday performed by Esmeralda and Captain Phoebus played by Christopher Johnstone who was last seen on the playhouse stage in South Pacific. His voice is as wonderful now as it was then.

Chopin (Paolo Montalban) Photo: Julia Russell
Chopin (Paolo Montalban)
Photo: Julia Russell

I also want to mention the very strong performance of Paolo Montalbano as Clopin, the king of the gypsies. He also plays the roll of narrator. Along with the gargoyles who come to life only to Quasimodo and serve as a sort of Greek Chorus, the story flows continually.

There is a thirty-two member chorus that occupies the choir loft that is perched high up and to the back of the stage. Their magnificent voices fill the theatre. The Playhouse recruited local talent for the chorus from such groups as the Seaglass Chorale, and they are all first class.

This production is something a bit different for the Playhouse as it has only been performed at two venues in the United States, and this run is being directed for the Ogunquit Playhouse by Shaun Kerrison. It is not a touring company show. Under the artistic direction of Brad Kenney, the Playhouse has become a major player in regional theatre. I believe there is a very strong likelihood this production will move on to Broadway. It is that strong. I hope Mr. Kerrison follows it there.

This play is dark in many parts. It will touch your emotions and make you think about how cruel humans can be to each other and wonder why. It will cause you to look at yourself and, perhaps, question some of the quick judgements we all make about people because they are different. The play does not answer these questions, but I believe it will open many eyes so that we all take the time to be more thoughtful before passing judgement on our fellow human beings.

We can take charge of our fate, but we must grasp our hopes and believe in the good we all have to offer.

See this play. You will be delighted by such a beautiful evening of theatre. You will also leave pondering so much more.

Through August 6th.
For information: OgunquitPlayhouse.org 207.646.5511

Ogunquit Playhouse Presents Priscilla, Queen of the Desert

 

Get Your Glitter On for the New England Premiere of 
Priscilla, Queen of the Desert at the Ogunquit Playhouse August 10 to September 3.

Ogunquit, ME — Get your glitter on and take the ride of your life with the hilarious and heartwarming Tony Award-winning Broadway musical, Priscilla, Queen of the Desert, based on the Oscar-winning film on stage at the Ogunquit Playhouse August 10 to September 3. The Ogunquit Playhouse is one of the first regional theatres in the U.S. to stage this outrageous international and Broadway smash hit, with book by Stephan Elliot and Allan Scott, complete with a non-stop dazzling array of over 500 imaginative and outrageous Tony Award-winning costumes and 200 headdresses designed by Tim Chappel and Lizzy Gardiner. Rounding out the fun is a hit parade of infectious dance songs from the 70s and 80s by Tina Turner, Cyndi Lauper, Donna Summer, The Village People and many other pop-stars and include “I Will Survive,” “Hot Stuff,” “Girls Just Wanna Have Fun,” “True Colors,” and “I Love The Nightlife.” Don’t miss the bus! Hop on for a journey to the heart of fabulous!

Jarrod Emick
Jarrod Emick

The story follows the adventure of friends Tick, Bernadette and Adam who board a party bus named Priscilla and take their outrageous drag show on the road through the Australian Outback to unite Tick with his young son. Starring as Tick is Jarrod Emick who won a Tony Award, Drama Desk and Theatre World Award for his role as Joe Hardy in the 1994 Broadway revival of Damn Yankees. Mr. Emick has performed in many other Broadway shows as well, including Miss Saigon (Broadway debut), Rocky Horror Show, The Boy from Oz opposite Hugh Jackman, and Ring of Fire. He also appeared at the Prince of Wales Theatre in the West End premiere of The Full Monty. His regional theatre productions include Next to Normal, Guys and Dolls, Sweeney Todd, Bus Stop, Picnic, Hank Williams: Lost Highway, Contact, Hands on a Hard Body and The Sound of Music.

William Selby
William Selby

William Selby joins the cast as Bernadette. He most recently enjoyed a long run of Laughing Matters, Vol. 5 at Florida Studio Theatre in Sarasota. Off-Broadway he has performed in many editions of Forbidden Broadway, The Daring Duo, Nerds, Forbidden Hollywood, Juba, and The Apple Tree. Mr. Selby has also performed in regional theatres throughout the U.S. in many shows including South Pacific as Luther Billis (for which he received Broadway World and Connecticut Critics Circle Award nominations for Outstanding Featured Actor), Barrymore, The Presidents, Hot n’ Cole, and All Night Strut. Playing Adam is Matthew Marks who is taking a break from his five year run in Broadway’s The Book of Mormon. Among his credits are the Broadway production of West Side Story

Matthew Marks
Matthew Marks

and the National Tour of Fiddler on the Roof. Lisa Helmi-Johanson, Coleen Sexton and Debra Walton join the cast as the three Divas along for the fabulous ride. Ms. Helmi-Johanson has performed in regional theatres in the U.S. in Avenue Q, Waterfall, Taming of the Shrew and …Spelling Bee as well as many others. Ms. Sexton has performed on Broadway in Forever Dusty and the National Tours in Wicked as Elphaba, in Legally Blonde as Brooke Wyndham, and various roles in Chicago. Ms. Walton has performed on Broadway and Off-Broadway in many shows including The Pajama Game, Storyville!, The Bubbly Black Girl and Cookin’ At the Cookery: The Life and Times of Alberta Hunter, which earned her a Drama Desk Nomination and a Barrymore Award. Mitch Poulos, who has also performed throughout the U.S., most notably in the National Tours of Billy Elliot the Musical, is cast as Bob.

Helming the Ogunquit production is David Ruttura who is currently the Associate/Resident Director of School of Rock on Broadway. He has worked as Associate Director for many Broadway productions including Spider-Man, Follies, Lombardi, Million Dollar Quartet, White Christmas and A Man for All Seasons. Mr. Ruttera has also directed many shows for regional theatres across the U.S. including the Kennedy Center, La Jolla Playhouse and Gateway Playhouse.

Gerry McIntyre returns to the Ogunquit stage to choreograph Priscilla, Queen of the Desert. He was last at the Ogunquit Playhouse in 2012 to choreograph 9 to 5 the Musical and in 2010 as the Director/Choreographer for Chicago. Mr. McIntyre’s long career, both on the stage, as director and choreographer has included many regional, Off-Broadway and Broadway productions including, the Dreamgirls National Tour, One Man Two Guvnors, My Fair Lady, A Chorus Line, Oklahoma, Candide, Legally Blonde, Urinetown, and Hairspray.

Michael McAssey is the Musical Director for the Ogunquit production. He has conducted and music directed the Broadway National Tours of Avenue Q and Titanic: The Musical, and toured with Donny Osmond playing piano for Liventʼs Joseph…Dreamcoat. He has music directed at theatres throughout New York and the U.S. for various productions that include Chicago, Man of LaMancha, Dirty Rotten Scoundrels, White Christmas, Ragtime, Sunset Boulevard, Gypsy, Violet, Smokey Joe’s Café among others. He appeared with Barbara Cook and Patti LuPone in Paris and toured with Ms. LuPone in her nightclub act, The Argentina Turner Revue.

Set design for the Ogunquit Playhouse production is by Stanley A. Meyer and Jason M. Curtis. Mr. Meyer’s set designs have been seen in Beauty and the Beast on Broadway, Aida at the Alliance Theatre, Treasure Island at the Arkansas Repertory Theatre, and From Here to Eternity and Saturday Night Fever at Finger Lakes Musical Theatre Festival. He has been recognized for his work by the League of American Theatres and Producers, National Broadway Award, Drama League Awards, American Theatre Wing Award and New York Outer Critics Circle Award, as well as the Los Angeles Ovation Award. Mr. Curtis has been the assistant designer for International Tour of Beauty and the Beast, Saturday Night Fever and From Here To Eternity at Finger Lakes Musical Theatre Festival among others.

Sound Designer for the Ogunquit production is Don Hanna whose regional theatre credits include Million Dollar Quartet and Billy Elliot, as well as the National Tours of Million Dollar Quartet and Smokey Joe’s Cafe 20th Anniversary. Lighting Designer is Richard Latta who has created the lighting for dozens of Ogunquit Playhouse productions, including most recently The Hunchback of Notre Dame, Sister Act, Victor Victoria, Nice Work If You Can Get It, Million Dollar Quartet, Saturday Night Fever and White Christmas in addition to many regional theatres in the U.S.

 

Sting Like A Maccabee: Jews in Boxing



“Stars in the Ring: Jewish Champions in the Golden Age of Boxing: A Photographic History”, By Mike Silver, Lyons Press, 2016. 344 pages with 255 photographs.

Reviewed by Len Abram

StarsAs coffee table books go – landscape printing and pictures prominent – this one is double expresso: a photographic history of Jewish boxers through the Golden Age of the sport, as well as a study of the context, from which Jews in boxing emerged, fought, lost and triumphed. Silver is an award-winning expert on boxing. Among his contributions was an exhibit in Philadelphia in 2004, “Sting Like A Maccabee: The Golden Age of the American Jewish Boxer.” This book may be its definitive outcome.

Silver’s scope here is larger than American Jewish boxers. England, the Netherlands, and Italy are also represented. We learn, for example, that the French boxer Victor “Young” Perez died heroically in the Holocaust. We find outstanding boxers among Jews, who were forced to flee the Nazis, all the way to Shanghai, China. Silver also covers Jewish managers, promoters, and writers, who contributed to the sport, including the owner of the famous gym of champions in New York, Stillman’s. With his American fighters, however, Silver’s story is as much about America as about any fighter with the Star of David on his trunks.

Silver’s story is as much about America as about any fighter with the Star of David on his trunks.

“No other sport lends so perfectly to metaphor,” Silver says. ‘Against the ropes’, ‘roll with a punch’, ‘down for the count’, ‘in your corner’, ‘on the ropes’, ‘throw in the towel’ – these clichés are drawn from boxing and perhaps remain more popular than the sport itself. The “Rocky” movie series and most recent pugilistic “The Southpaw” remind us that the theme of the down-and-out (another boxing reference) individual, who can redeem himself through boxing, is still compelling.

In the early decades of the 1900s, boxing was the most popular sport in America. In 1927, Babe Ruth earned $80,000 a season playing baseball, but the heavyweight champion Gene Tunney got around one million. At a time when a man in a sweatshop earned $20 per week for 12 to 14 hours a day, he might overlook his son’s black eye, if the young man had earned $20 for a four round bout.

During the Golden Era of Jewish participation in boxing, from the early 1900s to the late 1930s, upwards of 3,000 Jewish professional boxers were active, or about 7 to 10 percent of the total number.

From 1901 to 1939, Jews produced 29 world champions

From 1901 to 1939, Jews produced 29 world champions about 16% of the total. Silver is thorough with his statistics and little known details. Leach Cross (Dr. Louis Wallach), “the Fighting Dentist,” practiced dentistry during the day and fought at night. He made twice as much fighting. The first use of a mouth guard to protect the teeth came not from him, but from Ted “Kid” Lewis (Gershon Mendoloff) , who had a dentist make one out of rubber. The idea caught on.

Benny Leonard
Benny Leonard

How did Jewish mothers feel about their sons pummeled in the ring? Silver says that Jewish fighters feared their mothers, who opposed the sport, as unbefitting to the gentler Jewish values, of compassion and kindness. When lightweight champion Benny Leonard (Benjamin Leiner) was knocked down in a fight, his mother fainted. Leonard retired undefeated in 1925. A photograph shows the champion holding up his mother’s hand, a sign that she was the final victor.

Boxing is a violent sport, its purpose to inflict harm, its touted achievement to win by a knockout. Silver acknowledges that repeated blows to the head can damage a brain for life.

However, boxing can be an art and science, meaning the application of brain over brawn. Boxers use agility and speed to avoid being hit. They anticipate the moves of opponents and counter. An 18th century fighter, an English Jew named Daniel Mendoza, was so famous that he had an audience with King George III. At medium height and weight, Mendoza took on bigger and heavier opponents (weight classes later determined a fair match). Mendoza used his wits to outbox his competitors.

Silver’s outstanding figure among Jewish boxers is Benny Leonard

Silver’s outstanding figure among Jewish boxers is Benny Leonard champion from 1917 to 1925. The athlete as thinker, Leonard approached boxing as “a game of chess.” Silver reports that the day after a bout, Leonard was back in the gym, reviewing mistakes and successes from the night before. Leonard learned from everyone , including the youngest boxers in the gym.

Like so many others, including the great Barney Ross (Beryl Rosofsky), Leonard was the son of immigrants. He came out of a Jewish ghetto in Manhattan and fought his way to wealth and success. Many American fighters changed names according to the interests of the paying public for Irish, Italian and later for Jewish fighters.

Boxing leveled the playing field beyond the sport, as well. Joe Louis, a black man, became a national hero to both blacks and whites. The celebrated writer Pete Hamill grew up in a New York Irish-American home. As a youngster, he complained to his family about a “kike” boxer. His father corrected his anti-Semitism for good.

“Benny Leonard is a Jew,” he said.

(This article first appeared in the Jewish Advocate and is reprinted here with permission of the author.)

The Ogunquit Playhouse Welcomes New Development Director Dan Breen

The Ogunquit Playhouse welcomes Dan Breen as the new Development Director for the historic theatre.
The Ogunquit Playhouse welcomes Dan Breen as the new Development Director for the historic theatre.

Ogunquit, ME – The Ogunquit Playhouse is pleased to announce the appointment of Dan Breen to the position of Director of Development. Mr. Breen has 30 years of fundraising experience at educational and arts institutions including the Boston Symphony Orchestra and Middlebury College. “The Ogunquit Playhouse is a treasure not only for the seacoast region, but for everyone who loves the highest quality musical theater,” said Breen.

Helping to preserve this powerful art form while working to secure and strengthen the physical plant of the Ogunquit Playhouse are two of the overarching goals Mr. Breen will work to achieve. Through building fundraising efforts, his plans are to increase the Ogunquit Playhouse membership program, expand the Hartwig Legacy Society and to work with the Board of Directors and the community to raise funds for the capital needs of the iconic National Historic Register theatre and campus.

Executive Artistic Director Bradford Kenney stated, “We are thrilled to have Dan Breen as part of our growing company to lead us in the area of fundraising in order to help insure our treasured Playhouse will be here for generations to come. As the Ogunquit Playhouse productions continue to reach new benchmarks within our industry, it is more important than ever to raise the funds necessary to preserve our historic building, and to enhance and equip our theatre to accommodate both our artistic goals and to enhance our public areas in order to create the best possible experience for our visitors.”

Dan Breen and his family have relocated from the Philadelphia area to Kittery Point. Please join us in welcoming Dan to the Ogunquit Playhouse.
About the Ogunquit Playhouse: 
The Ogunquit Playhouse, a 501c3 not-for-profit organization listed on the National Historic Register, is located on Route One in Ogunquit, Maine and produces the finest Broadway musicals each season with performances Tuesday through Sunday, from May 18 to November 6. Follow the Ogunquit Playhouse on Twitter (@OgunquitPH) and on Facebook (facebook.com/OgunquitPlayhouse) for behind-the-scenes info, photos and fun throughout the season. For a complete list of show times, pricing and more information about the season visit www.ogunquitplayhouse.org.

 

UP TO SCRATCH: Bareknuckle Fighting and Heroes of the Prize-Ring

 by Tony Gee

Foreword by Sir Henry Cooper OBE, KSG 

Book review by Mike Silver

51romSRaslL._SX334_BO1,204,203,200_Boxing is a very ancient sport with a history going back thousands of years. But the origins of modern boxing can be traced to 17th century England where the sport reemerged after a 1000 year hiatus. After the death of Oliver Cromwell the restored monarchy of Charles II (1660-1685) freed England from the yoke of Puritan restraint. As a result, the populace began to enjoy a wide variety of old and new sporting diversions, including boxing. London, with its roiling urban suburbs and large population of poor people, became the perfect spawning ground for a new generation of fistic exponents, although the sport did not properly take off until the following century.

Three hundred years ago the rules for the sport were quite different than today.

Three hundred years ago the rules for the sport were quite different than today. Combatants fought bare-fisted and were allowed to throw an opponent to the ground provided he was grabbed above the waist. A round ended when a fighter was punched, thrown, or wrestled to the ground. The downed fighter was then carried back to his corner by his seconds and given 30 seconds to rest before both fighters had to return to the “scratch mark” (originally their side of a three-foot-square drawn in the center of the ring). If a fighter was too damaged to “come up to scratch” or “toe the mark” within the allotted time, he forfeited the match. The loser was considered “knocked out of time.”

There was no proscribed time limit to a bareknuckle prizefight. The contest ended only when a boxer either failed to come up to scratch or was disqualified for fouling. After the “New Rules” of 1838 superseded the rudimentary “Broughton’s Rules” fouls included butting with the head, striking a fallen opponent, kicking, gouging the eyes, and biting. Depending on when it ended the length of a bareknuckle fight could be measured in minutes or sometimes hours. Contests ran the gamut from insufferably boring (much wrestling and stalling) to extremely savage, bloody, and sometimes fatal.

Both the rich (including members of the aristocracy) and poorer elements of English society enjoyed betting on the outcome of prizefights. From the 1780s to the 1820s, boxing’s popularity had reached a point where it was considered the country’s national sport. Important bouts attracted thousands of spectators from all walks of life. Some of the best fighters even enjoyed the patronage of a member of the royal family.

Author and historian Tony Gee immerses us into this colorful and fascinating world.

Author and historian Tony Gee immerses us into this colorful and fascinating world. The meticulously researched book was originally published in 1998 and has recently been reissued in both soft cover and kindle version. It remains to this day the quintessential history of the English bareknuckle scene.

Few people are as qualified as Tony Gee to chronicle this history. He is the world’s foremost authority on the bareknuckle era of pugilism and has advised the British Museum, the National Portrait Gallery and the Jewish Museum of London and has contributed several articles to the Oxford Dictionary of National Biography.

“Up To Scratch” describes, in exquisite detail, the lives and battles, triumphs and tragedies, of some 70 pugilistic stars of the era. The vignettes are written in chronological order. Included are the exploits of such well-known bareknuckle bruisers as Daniel Mendoza, Tom Johnson, Jem Belcher, James “Deaf” Burke, Tom Sayers and Jem Mace.

While reading the bios of these hard men of the ring I was awestruck by their remarkable endurance and ability to withstand punishment often under the most trying of circumstances. Keep in mind that bareknuckle prizefights were fought outdoors and usually on bare turf. One of the many memorable stories the author describes is an 1827 contest between Ned Savage and Jem Wallace. During the bout a sudden and continuous downpour soaked the spectators and turned the ground into a quagmire. But no one wanted to see the fight called off, so the officials allowed it to continue.

As described by Gee: “The two combatants, covered in mud, waged an even, determined battle for two hours, although action then understandably flagged. At length, after a marathon 127 rounds lasting 147 minutes, Wallace was so completely exhausted that his friends gave in for him. Both men, totally insensible, were conveyed to the Swan, put to bed and bled. (This practice was then customary amongst the medical profession, but how it could help revive a fighter who had often already lost a lot of blood is difficult to comprehend – in fact, sometimes it could only have made matters worse.)” It is this type of detail that is common throughout the book.

One of the most unusual bouts described is a set-to that occurred in 1828. Both protagonists were dwarfs. Each fighter stood less than 4 feet tall and weighed under 100 pounds. “Despite the lack of interest shown by the Fancy, a large crowd was drawn to the event because of its strong novelty value.” The contest ended after 37 minutes.

Tony also describes an 1842 bout between the visiting American giant Charles Freeman, who was measured at 6 feet 9 inches tall (his height often exaggerated to over 7 feet) and the “Tipton Slasher”, William Perry. Other than size Freeman had little to recommend him.
“Unfortunately, like other giants who have attempted to find fistic fame through the years, Freeman’s boxing ability did not quite match up to his imposing physical appearance.” After this fight Freeman never fought again, preferring instead to concentrate on stage performances. The author’s research reveals what happened to the visiting American boxer after he retired from fistic combat: “Less than three years later he died, far from home, a victim of consumption brought on by careless living.”

There are also descriptions of fixed fights, fatal encounters, and behind the scenes maneuverings that shows how little things have changed over the centuries when it comes to the more corrupt and outlandish aspects of the sport.

The book comes to an end with a description of the downfall of bareknuckle boxing and the eventual acceptance of the Marquess of Queensberry rules that mandated boxing gloves and three minutes rounds with one minute of rest in between. As noted by the author; “Whilst its critics rejoiced in the demise of the traditional prize-ring, there were many who mourned the passing of an often corrupt, yet essentially noble, activity.”

In addition to a comprehensive bibliography and index the book is enhanced by several appendices that feature the nicknames of the fighters and another that defines boxing slang that was popular at the time such as “Bottom (Courage and fortitude), “Cove” (fellow), “Claret” (blood), “Fancy” (enthusiasts of a particular amusement, especially followers of the prize-ring), “Mill” (pugilistic encounter between two persons), “Muff” (someone awkward or stupid at an athletic pursuit), and many others.

Tony Gee is a wonderful storyteller. “Up to Scratch” provides a treasure trove of information about the lost world of bareknuckle boxing. It is an insightful look into one of boxing’s most dramatic and colorful eras and should be on the book shelf of every boxing fan in addition to anyone interested in this important aspect of England’s history.

Note: Boxing historian Mike Silver is the author of “The Arc of Boxing: The Rise and Decline of the Sweet Science” (McFarland Publishing, 2008), and most recently “Stars in the Ring: Jewish Champions in the Golden Age of Boxing: A Photographic History” (Lyons Press, 2016)

THE KINGSTON TRIO JOINS AMERICAN A CAPPELLA AT OCEAN STATE THEATRE

the Kingston TrioWARWICK, RI – The Kingston Trio, the groundbreaking, Grammy Award-winning American Pop-Folk group, joins 15-Time District Champions, Narragansett Bay Chorus, along with senior quartet champions, Trade Secret and up and coming collegiate stars, Curtain Call, for a very special American A Cappella show on Saturday, September 10, 2016 at 2:00 and 7:30pm.

In 1957, The Kingston Trio emerged from San Francisco’s North Beach club scene to take the country by storm, bringing the rich tradition of American folk music into the mainstream for the first time. During the late 50s & early 60s, the Trio enjoyed unprecedented record sales and worldwide fame, while influencing the musical tastes of a generation. Through changing times, the Trio has played on, remaining popular for a simple reason…great songs that sound as good today as the first time you heard them.

…great songs that sound as good today as the first time you heard them.

And fifty-eight years after Tom Dooley shot to the top of the charts, the Trio is still on the road thirty weeks a year, bringing back all the great memories and making new ones.

The Narragansett Bay Chorus is the performing unit of the Providence Chapter of the Barbershop Harmony Society – the largest male singing organization in the world! Competitively, the chorus has been the Society’s District winner on fifteen separate occasions.

Based in the Greater Providence area since 1949, the Narragansett Bay Chorus is a premier chorus that sings popular music a cappella in four-part harmony. They perform, primarily in the New England area, but have also performed in England, Canada, and across the United States. Membership includes men of all ages from Rhode Island, Massachusetts, and Connecticut.

American A Cappella featuring The Kingston Trio will be presented on Saturday, September 10 at 2:00 pm and 7:30 pm. The theatre is located at 1245 Jefferson Boulevard, Warwick, RI. Tickets are $50 for premium seating, $40 for standard seating and $25 for value seating and are on sale at the box office Monday through Friday from 12 noon – 6:00 pm, Saturdays from 12 noon – 4:00 pm and performance days from 12 noon – curtain. Tickets are also available online 24 hours a day at www.OceanStateTheatre.org and via telephone during normal box office hours by calling (401) 921-6800.

Hartford Stage Announces Cast and Creative Team For Queens for a Year

Cast Features Local Actress and Broadway Veterans

September 16 through October 2

show-queensHARTFORD, CT — AUGUST 23, 2016 — Hartford Stage Artistic Director Darko Tresnjak and Managing Director Michael Stotts announced today the cast and creative team for Queens for a Year, written by T.D. Mitchell and featuring local actress Vanessa R Butler.

The first show of Hartford Stage’s 2016-17 Season, Queens for a Year is a world premiere directed by Lucy Tiberghien, whose recent Off-Broadway credits include Don’t Go Gentle and Blind.

“We’re delighted to have Lucie Tiberghien and such a terrific cast joining us for this timely new play exploring the lives of women serving in the military,” said Elizabeth Williamson, Associate Artistic Director.

Butler’s credits include Gross Domestic Product and Jimmy and Lorraine at HartBeat Ensemble; Juliet in Romeo & Juliet at Capitol Classics; and Freedom: In 3 Acts at Bated Breath Theatre Company.

The cast also includes Heidi Armbruster, Time Stands Still on Broadway; Mary Bacon, Arcadia on Broadway; Alice Cannon, James Joyce’s The Dead on Broadway; Sarah Nicole Deaver, Henry V at Rutgers University; Mat Hostetler, the War Horse national tour; Charlotte Maier, God of Carnage on Broadway; and Jamie Rezanour, Romeo & Juliet at the Classical Theatre of Harlem.

In addition to Tiberghien, the creative team includes set design by Daniel Conway (Horton Foote’s Lily Dale Off-Broadway); lighting design by Robert Perry (Love in Afghanistan at Arena Stage); costume design by Beth Goldenberg (Engagements at Second Stage Theatre); sound design by Victoria Toy Deiorio (Lady Day at Emerson’s Bar and Grill at Milwaukee Repertory Theatre); and dramaturgy by Elizabeth Williamson (Anastasia, The Body of an American).

Lori M. Doyle (The Visit on Broadway) will serve as production stage manager.

In Queens for a Year, Molly Solinas, a young Marine Corps Officer, unexpectedly returns to her family home in Virginia, bringing with her an even younger female Private. Four generations of women who’ve served their country in the Marines clash during what at first appears to be a post-deployment vacation – but is revealed to be much more.

“I am grateful to Queens for a Year for telling this difficult story and shedding a light on women in the military,” said Kirsten Gillibrand, United States Senator, New York.

Mitchell, best known as a writer on the popular Lifetime series “Army Wives,” has earned accolades for many works, including her plays Beyond the 17th Parallel (National Endowment for the Arts Artistic Excellence Grant, soon to be adapted for film), A Gray Matter, In Dog Years and the upcoming VRTU-L.

 

Previews begin at 7:30 p.m. Thursday, September 8
Opening Night: 8 p.m. Friday, September 16
Closes: 2 p.m. Sunday, October 2

Tickets & Performances

Tue, Wed, Thu, Sun at 7:30 p.m.—Fri, Sat at 8 p.m.—Sat, Sun at 2 p.m.
Wed matinee at 2 p.m. on September 21 only
Weekly schedules vary. For details, visit www.hartfordstage.org.

Tickets for all shows start at $25. For group discounts (10 or more), contact Theresa MacNaughton at 860-520-7114.

For all other tickets, please call the Hartford Stage box office at 860-527-5151 or visit www.hartfordstage.org.

Special Events

Sunday Afternoon Discussion, September 18

Enjoy a lecture from artists and scholars connected with the production immediately following the 2 p.m. matinee. Free

AfterWords Discussion

Tuesdays, September 20 and 27 & Wednesday, September 21

Join members of the cast and our Artistic staff for a free discussion, immediately following select 7:30 p.m. performances on Tuesday or the 2 p.m. Wednesday matinee.

 

 

 

SpeakEasy Stage Presents “Significant Other”

From September 9 to October 8, 2016, SpeakEasy Stage Company will proudly present SIGNIFICANT OTHER, a sharply observed new comedy about the challenges of finding love and letting go, written by Bad Jews playwright Joshua Harmon.

so-website_bannerSlated to begin previews on Broadway in February, 2017, SIGNIFICANT OTHER tells the story of Jordan Berman, a 29 year old single gay man whose life up until now has revolved around BFF’s Kiki, Laura, and Vanessa. But as singles nights suddenly turn into bachelorette parties, Jordan starts to worry about his romantic prospects, and sets out on a journey to find his own Mr. Right.

SIGNIFICANT OTHER is the latest from playwright Joshua Harmon, whose play Bad Jews was the third most-produced play in the United States during the 14-15 theatre season. A recent graduate of Julliard, Mr. Harmon has received fellowships from MacDowell, Atlantic Center for the Arts, SPACE at Ryder Farm, and the Eudora Welty Foundation.  He is currently at work on commissions for Roundabout Theatre Company, Lincoln Center Theater, and Manhattan Theatre Club.

SpeakEasy Founder and Producing Artistic Director Paul Daigneault will direct this New England premiere production of SIGNIFICANT OTHER. Mr. Daigneault’s recent SpeakEasy directing credits include the acclaimed productions of Violet, Mothers & Sons, Big Fish, The Color Purple, In the Heights, and Next to Normal. Mr. Daigneault is the recipient of three Elliot Norton Awards, including the 2014 Norton Award for Sustained Excellence.

Norton Award nominee Greg Maraio and Norton Award winner Kathy St. George head the cast, which also includes Sarah Elizabeth Bedard, Jordan Clark, Eddie Shields, Kris Sidberry, and Jared Troilo.

The design team is Christopher & Justin Swader (scenic); Tyler Kinney (costumes); Daniel H. Jentzen (lighting) and Lee Schuna (sound).

SIGNIFICANT OTHER will run for five weeks, from September 9 through October 8, in the Roberts Studio Theatre in the Stanford Calderwood Pavilion at the Boston Center for the Arts, 527 Tremont Street in Boston’s South End.

Ticket prices start at $25, with discounts for students, seniors, and persons age 25 and under.
For tickets or more information, the public is invited to call the box office at 617.933.8600 or visit www.SpeakEasyStage.com .

 

 

Seven Brides for Brothers Bursts onto the Ogunquit Playhouse Stage

The Rip-Roarin’ Musical Comedy Classic Runs From September 7 to October 1

2016_Seven-Brides_Thumb-3Pull up your boots and hold onto your hats when this all-dancing, all-singing, all-new production of the rip-roarin’ musical comedy classic bursts onto the Ogunquit Playhouse stage September 7 to October 1. Seven Brides for Seven Brothers is a big, brawling, rollicking show filled with rambunctious energy and set in 1850s Oregon Territory with a book by Lawrence Kasha and David Landay, lyrics by Johnny Mercer, music by Gene de Paul, and new songs by Al Kasha and Joel Hirschhorn. This beloved musical based on the glorious MGM hit film and Stephen Vincent Benet’s short story “The Sobbin’ Women” tells the story of Adam Pontipee and his backwoods brothers’ unusual pursuit of brides. When Adam goes to town to get a wife, he miraculously convinces the beautiful and feisty Milly to marry him that same day, and then she immediately starts reforming her six rowdy brothers-in-law. When her plan to marry off the boys backfires, this exuberant rousing musical kicks into high gear with a combination of daredevil dancing and wonderful songs like “Goin’ Courtin,” “Sobbin’ Women,” and “Wonderful, Wonderful Day.”

Nathaniel Hackman
Nathaniel Hackman

Broadway performers will headline the Ogunquit production. Starring as Adam Pontipee is Nathaniel Hackmann who is making his Ogunquit Playhouse debut. Mr. Hackmann has appeared on Broadway in Les Miserables, Beauty and the Beast, and Paint Your Wagon. He has also performed in many regional theatres throughout the U.S. in shows that include Oliver!, Sweeney Todd, Oklahoma!,

Analisa Leaming
Analisa Leaming

Camelot and many more. Also making her Ogunquit Playhouse debut is Analisa Leaming who is cast as Milly. Ms. Leaming recently appeared on Broadway in the Lincoln Center production of The King and I and in Roundabout Theatre’s production of On the Twentieth Century starring Kristin Chenoweth. She has performed in regional theatres in shows including Mary Poppins as Mary, The Sound of Music as Maria, The Music Man as Marian Paroo, and many others.

Adam’s brothers are played by Kevin Munhall (Broadway: Anything Goes; Ogunquit Playhouse: West Side Story) as Benjamin, Colin Bradbury (Broadway: Come Fly Away) as Caleb, Brian Martin (Nat’l Tour: Bullets Over Broadway) as Daniel, Abe Hegewald (Sir Tim Rice’s North American Premiere of From Here to Eternity) as Ephraim, Jeff Smith (Ogunquit Playhouse: West Side Story; Damn Yankees) as Frank, and Justin Schuman (1st Nat’l Tour: Nice Work If You Can Get It) as Gideon. The brides are played by Kelly Berman as Alice, Becky Grace Kalman as Sarah, Shelby Putlak as Liza, Maria Cristina Slye as Dorcas, Chloe Tiso as Martha, and Lizz Picini (Ogunquit Playhouse: West Side Story) as Ruth, who is also the Assistant Choreographer for the Ogunquit production.

For ticket information visit www.ogunquitplayhouse.org or call the Ogunquit Playhouse Box Office at 207-646-5511.

 

“45 Plays For 45 Presidents” Opens At Merrimack Repertory

“45 PLAYS FOR 45 PRESIDENTS” OFFERS BOTH HUMOR AND INSIGHT TO KICK OFF MRT SEASON
227 YEARS OF AMERICAN HISTORY IN 2 HOURS
SEPTEMBER 7 – OCTOBER 2, 20

45PlaysFor45Presidents 470x470_0Just in time for the general election, Merrimack Repertory Theatre (MRT) offers offers a one-of-a-kind take on the epic sweep of American history with “45 Plays for 45 Presidents.” In just two hours, through nearly every theatrical device imaginable, we see the highs and lows our country has hit over decades and centuries. With each commander-in-chief in the spotlight for two minutes, we experience not only their lives, but the distinctive American eras in which they served. And ultimately, we appreciate that our nation’s story is one that we all have written—and continue to write—every time we vote.

“45 Plays for 45 Presidents” runs approximately 2 hours, including one intermission. Performances are September 7 – October 2. Press performances are at 8:00 pm on Saturday, September 10 (Opening Night), and 2:00 pm on Sunday, September 11. All performances will be held at the Nancy L. Donahue Theatre, located at 50 East Merrimack Street in historic downtown Lowell. Tickets range from $70 – $26 and are on sale now at www.mrt.org or by calling 978-654-4678.
The evening ends with the audience voting on who the 45th president—and what the 45th play—will be; each audience will see either a Hillary Clinton or Donald Trump play to close the show. MRT is partnering with Rock the Vote and Lowell Votes to encourage voter registration in the lobby.

About Play and its Creators
The Neo-Futurists, whose legendary “Too Much Light Makes the Baby Go Blind” has been a staple of the Chicago theatre scene since 1988, first presented this presidential play in 2002, then called “43 Plays for 43 Presidents.” Four of its five writers were members of the troupe, which is renowned for an in-the-moment aesthetic and innovative, multi-modal storytelling. The writers—Andy Bayiates, Sean Benjamin, Genevra Gallo-Bayiates, Chloe Johnston, and Karen Weinberg—created the show not as a series of impersonations, but rather as a set of fully realized theatre pieces that explore the thoughts, feelings, triumphs, and failures of the individuals we have chosen to lead our country—as well as of their families, colleagues, and adversaries.

One of the playwrights, Andy Bayiates, is a Billerica native, who was born at Lowell General Hospital. He is credited as the “Founding Father” of the play for the major role he played in its creation.

MRT Artistic Director Sean Daniels has been directing the play every presidential election season since 2004, and returns to direct again here. When he directed the play in at Dad’s Garage Theatre Co. in Atlanta, Georgia, Jimmy Carter attended (and really enjoyed the Reagan play) and subsequently invited the cast to perform at the Carter Center. Daniels later directed the play at Actors Theatre of Louisville in Kentucky and Geva Theatre Center in Rochester, NY. Of the original Chicago production, Daniels recalls: “I thought it was so smart, and so well-done. How often do you get to see a full American civics lesson in less than two hours? To see the choices we’ve made as a country, over and over again?”

More About the Production
One thing Daniels loves about “45 Plays…” is that it keeps changing, as public perceptions of certain presidents evolve. This year, Barack Obama and George Herbert Walker Bush will both have their plays rewritten. “You find that we all share the same opinions about the first 16 presidents. Everyone loves George Washington… but suddenly when we talk about Reagan, everyone feels very strongly, one way or the other, about what it all means… One thing that’s exciting for me is that the writers have to continually update it, because public ideas change.”

Audiences at MRT’s production will be immersed in diverse storytelling approaches, both comical and serious: ballet, puppetry, personal narrative, prop-driven physical theatre, and Schoolhouse Rock-style musical numbers all converge into a cohesive whole. The set will use projection panels and light boxes scattered across the MRT stage, and costumes will be crafted to represent changing American fashion across the eras. Scene change music will transform as the show progresses to reflect the popular music of each president’s tenure.

Creative Team and Cast
The five-person cast includes Veronika Duerr (MRT’s “It’s a Wonderful Life: A Live Radio Play” and “Home of the Brave”), Nael Nacer (MRT’s “It’s a Wonderful Life: A Live Radio Play”), and Terrell Donnell Sledge (MRT’s “The Realness: a break beat play”), as well as newcomers Celina Dean and Aaron Muñoz.

Director Daniels is joined by a creative team that includes Wendy Seyb (Choreography), Michael Raiford (sets), Brian J. Lilienthal (lights), A. Lee Viliesis (costumes), Stowe Nelson (sound), and Ido Levran (projections programmer).

Admission
Tickets range from $70 – $26 and are available at www.mrt.org or by calling 978-654-4678. A senior discount is offered for 10% off adult ticket prices. Student tickets are $15. Group discounts are available for groups of six or more by calling 978-654-7561. $5 Night: Wednesday, September 7 at 7:30 pm. Patrons may purchase tickets for $5, cash only, at the Box Office between 4:30 pm – 7:30 pm. Limit 2 tickets per person. Lowell Night: Wednesday, September 14 at 7:30 pm. Lowell residents may purchase tickets for $10 at the box office from 4:30 pm-7:30 pm. Proper ID required, limit 2 per person. A Military Discount of $10 off per ticket (up to four tickets per production) applies to any performance for active duty, retired, veteran, and reservist members of the military.

Duran v Buchanan

Should Buchanan Have Been Declared The Winner
By Disqualification?

by Bobby Franklin

(This piece was first published in the Boston Post Gazette in January of 2014.)
It was June 26, 1972 and the very popular Lightweight Champion from Scotland Ken Buchanan was stepping into the ring to defend his title against the challenger from Panama, Roberto Duran. Buchanan won the title in 1970 by outpointing champion Ishmael Laguna over 15 rounds under a very hot sun in San Juan, Puerto Rico. That same year the New York Boxing Writers’ Association named him Fighter of the Year, the first time a non American was so honored. Ken was an active champion in both defending his title and also participating in non-title matches. He was well liked by fans in the United States.

Duran-vs-BuchananDuran was a relative unknown at the time of the fight. He had built up an impressive undefeated record scoring 28 straight wins with only four lasting the distance and eleven ending in the first round. He had just one fight in the United States scoring a sensational one round knockout over journeyman Benny Huertas in NY on September 13, 1971. Was he a great knock out artist or just another unknown with a padded record? His trainers Ray Arcel and Freddie Brown knew the answer to that. They were two of the best in the business and worked hard to develop Duran’s raw power into savvy boxing skills.

The fight took place in Madison Square Garden before 18,000 fans. From the opening bell Buchanan knew he was in for a rough night as he hit the canvas within the first minute. Duran pressured and hammered the game Buchanan round after round. Bulling him into the ropes and slamming him with everything in his arsenal.

Despite the onslaught, Buchanan fought back gamely.

Despite the onslaught, Buchanan fought back gamely.He used a very fast jab in an attempt to keep Duran at bay, but the challenger was able to counter that with a very sharp and powerful right hand. Duran was rough, tossing in elbows and a number of blows that were low as well as shoving and pushing Buchanan through the ropes. He was warned only once by referee Johnny LoBianco about the low blows, and that wasn’t until the 12th round.

The fight was all Duran with Buchanan maybe winning one or two rounds going into the 11th. This is where I noticed a change in the dynamic of the fight. While the champion certainly wasn’t turning the tide, he was continuing to fight hard and hadn’t slowed down. It was at this point I saw Duran becoming frustrated with his inability to stop or to again floor Ken. He started getting wild with his punches and was talking to Buchanan.

He started getting wild with his punches and was talking to Buchanan.

It was a frustration that I would later see in his rematch with Ray Leonard, the famous No Mas Fight. Duran just had to keep the pressure on and continue with his game plan to win a decision, but he desperately wanted a knock out. In the corner you could see Ray Arcel getting angry with Roberto and urging him to calm down. Duran was starting to turn this into a more difficult fight as Buchanan was beginning to land on him. I am by no means implying Ken was taking charge of the fight, but it was becoming interesting. It also has to be remembered that Buchanan won the title by coming on in the late rounds against Laguna. In boxing it truly ain’t over till it’s over.

400px-Duran-Buchanan_The-end-of-the-fightNow for the controversy: The bell rings for the 13th round and Duran comes out with fire in his eyes. He is all over the champion who continues to fight back gamely. Ken still has plenty of life left in his legs and is not going to give up his championship easily. Duran bulls him to the ropes, and fires away at him, but Roberto’s punches are wider now, he is also getting hit with more jabs. He desperately wants to end the fight. He has Buchanan against the ropes when the bell sounds ending the round. After the bell rings Duran fires a right hand to the body that lands well below the belt line. The champion falls to the canvas in great pain. He is taken to his corner where the referee takes a quick look at him and stops the fight giving the title to Duran.

Gil Clancy, who was working Ken’s corner that night, made no protest over the stoppage. That was very odd behavior coming from the usually outspoken Clancy. When referee Johnny LoBianco was interviewed by commentator Don Dunphy immediately after the fight he told Don it was not a low blow, and if it had been it would make no difference as it was “impossible’ to be hurt by a low blow because of the protective cup being worn by the fighter. Look at the photo of the punch being landed and you will clearly see it was low. If it had been called a low blow by the ref, Buchanan would have been given five minutes to recover. Also,

LoBianco did admit the punch landed after the bell.

LoBianco did admit the punch landed after the bell.He said he stopped the fight because of that blow, and if it hadn’t landed he would have allowed the fight to continue. He clearly states he ended the fight because of the blow, which by his own admission, was landed illegally. He states that Buchanan was in no condition to continue because of that punch. Going by LoBianco’s own words, Duran should have been disqualified and Buchanan allowed to retain his title. I know Duran was well ahead in the fight, but this fight ended because of an illegal blow, a fact that was acknowledged by the referee.

Questions linger. Why did Clancy remain silent? At the very least a protest would have ensured a rematch. Why did Duran’s team refuse to fight Buchanan again? Why did LoBianco never referee another championship bout? And finally, did we see a flaw in Duran that night that would lead to his quitting against Leonard years later? I believe Duran was one of the greatest fighters of all time. He was devastating, but as with all great fighters, he had his flaws. He would get frustrated with fast moving boxers, and, even though he would be beating them, he would become impatient if it appeared he was being outboxed.

As controversies go, I am sure this doesn’t rate high on a lot of fight fan’s lists, but I still think there are questions to be answered. I have included video of the 13th round including the interview with referee LoBianco aCheck out the fight and pay attention to the interview with LoBianco as well as footage of the entire fight. See what you think.

A Moment From Walcott vs Ray

Jersey Joe Walcott
VS
Elmer “Violent” Ray
A Split Second In That Fight

by Bobby Franklin

Walcott Ray

Followers of this column know I occasionally like to take a photograph from a fight that took place years ago and study it to see what it shows about how the contestants plied their trade. The reason I choose photos from an earlier time in boxing is because it is impossible to find any taken today that show the fighters doing any of these moves.The art and technique no longer exist,

The art and technique no longer exist

and that is borne out by these photos.

The latest in this series is a shot taken during either the second or third fight between Jersey Joe Walcott and Elmer “Violent” Ray. Both fights took place within a few months of each other and both resulted in very close decision wins, one for Ray and the final contest for Walcott. The two had fought each other once before early in their careers when Walcott scored a knockout over Ray. The first fight was in 1937. The final two were in 1946 and 1947.

Fight fans are well versed in the career of Walcott, the man who at the time was the oldest to win the Heavyweight Title. It can be strongly argued he was the best heavyweight of all time when it came to technical skills. He was fast, agile, could punch with the kick of a mule, and had great stamina. He was a true artist when in the ring, and like any great artist he constantly practiced his craft,

like any great artist he constantly practiced his craft

always striving to improve and learn new things. I have been told that if he was in the gym and through working out he would sit and watch other fighters training, even the amateurs. When asked why he would take the time to observe amateurs sparring he reportedly answered, “Because I might learn something, a new move, that I don’t already know.”
Walcott was a master tactician who studied boxing the way a medical student studies anatomy. He would practice his footwork as if it were choreography, which it actually is. To watch Jersey Joe in the ring is to watch a true master at work. Relaxed yet intense.

Elmer “Violent” Ray is an intriguing figure. The man had an incredible record; A total of 108 bouts with 85 wins. A remarkable 64 of those wins were by knock out. He lost just 17 contests and had 5 draws.From October of 1943 until his third fight with Walcott in March of 1947,

Elmer had 50 consecutive fights without a loss

Elmer had 50 consecutive fights without a loss Not only is that an outstanding accomplishment given the period he was fighting in, it is also a huge number of fights to have in approximately 3 and a half years.

While some may question the quality of the opposition he faced, a few names do jump out at me. He kayoed Lee Savold and Jay D. Turner as well as having the win over Walcott. He couldn’t have been fighting all stiffs and been able to come up with those wins.

There is little known about Ray. No film exists of his fights, and nobody seems to know what became of him after he gave up boxing. He just seems to have disappeared. If he had won the third fight with Walcott it is likely he would have gotten the title shot against Joe Louis instead of Jersey Joe. Instead, he fought on for a couple of more years, winning a close decision over Ezzard Charles and then being kayoed by Charles in a rematch. Not long after he quit boxing and vanished like Keyser Soze in the movie “The Usual Suspects”.

Now to the photo. This is another of those amazing pictures that captures so much of what is happening in this fight. Though it is just a fraction of a second of action, it shows us two very skilled fighters at work. We see that Walcott has moved to his right and has let fly a very hard right hand. It is possible he feinted Ray with a jab before doing this as Elmer’s right hand appears to be in position to parry a jab. His left is low but also in position to deliver a hook to the body.

Joe is putting the force of his entire body behind the blow. You can see how he has shifted the weight of his body from his right foot to his left, up on the toes of his right and flat footed with the left. He has also dropped his right shoulder further increasing the force of the blow. Just look at the power and torque in his shoulder and chest muscles. His eyes are focused on Ray, and you can see he is ready to follow up with the left hook.

Jack Dempsey used to say he got his power by punching from his hips

Jack Dempsey used to say he got his power by punching from his hips You can clearly see how Joe has put his hip into this blow. His entire core is at play here. In this photo Walcott is giving a master class in how to throw a right hand.

So, what about Elmer Ray? Well, he certainly is no slouch. As great a move as Walcott has just pulled off, it appears from Elmer’s position that he was sucked in by the feint, but he has reacted well to the move. As soon as he realized what was coming he went to a defensive move and slipped under the punch. Because it happened so fast he is still feeling the power of the blow, but Walcott does not connect to a vulnerable area of Ray’s anatomy. Elmer Ray shows us the art of slipping a punch. Remember, he didn’t have time to think about what he was going to do. He made this great move because he had practiced it over and over again. You are seeing two masters at work.

I would also call your attention to the referee. He is on his toes and as focused on the action as the boxers. He is out of the way but in a position to step in if needed. All three of these men are consummate professionals.

I get more enjoyment just looking at this photo than I can get out of watching any of the so called champs of today in a live fight. Maybe they should take some time to look at pictures such as this. They might learn something. Of course, it would probably just confuse them.

You’re In Good Company At The Lyric Stage

Stephen Sondheim’s Company

Directed by Spiro Veloudos

The Lyric Stage Boston

reviewed by Bobby Franklin

Bobby (John Ambrosino)
Bobby (John Ambrosino)

I am embarrassed to admit it, but in all the years I have been attending theatre I have, until now, never seen Stephen Sondheim’s “Company”. Well, I guess the theatre gods wanted me to wait for the Lyric Stage’s production directed by Spiro Veloudos. The gods were smiling on me as I doubt I could have seen a better staging of this wonderful play anywhere else. The wait was worth it.

The play which was considered groundbreaking when it first appeared in 1970 takes on the subject of marriage, commitment, and non commitment. It centers around Bobby, the one person in his circle of friends who has not been in a committed relationship. His friends are concerned that Bobby is not in a relationship, and they are trying to fix him up or convince him that “A person is not complete until married.”

At the same time, we get to explore the question of just how happy Bobby’s married friends are. The songs “The Little Things You Do Together” and “Sorry-Grateful” capture the conflict many couples have using an on the one hand, on the other hand theme.

“Company” is a play that, while dealing with a subject, marriage and commitment that can be touchy and emotional, and is something we all have experienced in some way, it never makes you feel uncomfortable. The music is classic Sondheim, meaning it is simply wonderful. There is humor, and

the cast, without exception, is a joy to watch

the cast, without exception, is a joy to watch.

As I was leaving the theatre two moments stayed in my thoughts. One is when Amy, who is engaged to be married but is getting cold feet, tells Bobby “You are afraid not to get married, and I am afraid to get married.” The other was the song “Marry Me A Little” sung by Bobby. He is onto something.

April (Adrianne Hick), Marta (Carla Martinez), Kathy (Maria LaRossa)
April (Adrianne Hick), Marta (Carla Martinez), Kathy (Maria LaRossa)

There is not a bad seat at the Lyric Stage, but they are limited. I recommend you get tickets soon before it sells out as it most certainly will. Don’t wait. who knows when the gods will send us another production as fine as this one.

Company now through October 9th at The Lyric Stage, 140 Clarendon Street, Copley Square, Boston. 617.585.5678
lyricstage.com

Photos: Mark S. Howard

A Dancing Feast At The Ogunquit Playhouse

Seven Brides For Seven Brothers

Through October 1st

reviewed by Bobby Franklin

I have to say I was not particularly excited by the thought of seeing Seven Brides For Seven Brothers. It has never been high on my list of movie musicals, though when it was released in 1954 it was a hit and earned an Academy Award for Best Scoring of a Musical and a nomination for Best Picture. In 1982 it was staged on Broadway but did not last long. It has been revived a number of times over the years with changes being made as it went along.

Frank (Jeff Smith) Challenge Dance Photo: Jay Goldsmith
Frank (Jeff Smith) Challenge Dance
Photo: Jay Goldsmith

The production now playing through October 1st at the Ogunquit Playhouse has original choreography by Parker Esse, a man with no shortage of talent. And it is the dancing that makes this an enjoyable evening of theatre. Oh, the scenery, as usual at the Playhouse, is lovely, and the cast is strong, especially Analisa Leaming as Millie playing opposite Nathaniel Hackman as Adam.Ms Leaming is tall and beautiful with a lovely voice

Ms Leaming is tall and beautiful with a lovely voice

and she knows how to command the stage. Mr. Hackman fits the part of the strong and stubborn mountain man in search of a wife with his deep and full voice. But it is ultimately the dancing that makes this worth seeing.

A nice touch is having members of the orchestra come out onto the stage in costume for a number of the songs. The very lively Challenge Dance number is outstanding with amazing physicality. It is really something to see the potential brides being tossed over the heads of their suitors. The dancers were in perfect sync.

I was pleasantly surprised by what I saw, but I should never underestimate what the team at the Playhouse can accomplish with  Artistic Director Brad Kenney in charge. Seven Brides for Seven Brothers is a terrific old fashioned musical that makes for a fun time at the theater. This is one for the entire family to enjoy. It will make you feel like dancing down the aisle on the way out of the theater.

Seven Brides For Seven Brothers at the Ogunquit Playhouse
Directed by BT McNicholl
Through October 1st.
Box Office: 207.646.5511
OgunquitPlayhouse.org

There’s A Lot More To Ingo

Ingemar Johansson:
Swedish Heavyweight Champion
By Ken Brooks
(McFarland, 272 pages, $29.95)
www.McFarlandpub.com 800-253-2187

reviewed by Bobby Franklin

978-0-7864-9847-5A few weeks ago I wrote a piece for the Post Gazette about Heavyweight Champion Ingemar Johansson. In the limited research I did on that story I learned what a fascinating character the man with Toonder in his right hand was. In the time since that column appeared I have had the opportunity to read Ken Brooks’ detailed biography of the former world champion.

In recent years biographies of boxers have been coming out on an almost daily basis. Most are labors of love. Many are well researched but poorly edited. Some are quite good. And a few rise to the top of the heap. This book is one of those that deserves a wide readership.

Mr. Brooks has done meticulous research, organized his material, given an array of footnotes to back up that research, and ends up with a lively narrative about a fascinating figure in the world of boxing

a lively narrative about a fascinating figure in the world of boxing

. Though he clearly admires his subject, this is no hagiography.

Ingemar was born in Goteborg, Sweden in 1932, the son of Ebba and Jens Johansson. His father, Jens, was a street paver and it is from him that young Ingo inherited his great physical strength.

The young Swede was not particularly fond of school work, nor did he do well when dealing with authority figures. His career in the military was less than stellar. But this disdain for being a team player made him a perfect candidate for the sport of boxing where an athlete is on his own and answers to no one but himself.
Ingo ran up an impressive amateur boxing record culminating in his representing Sweden in the 1952 Olympics. Fighting against American Eddie Sanders in the final Ingo was disqualified for “lack of effort”. Johansson returned to Sweden in shame and with the press writing off any hopes of his having a future in boxing.

Well, not only did he prove the press wrong by going on to win the European Heavyweight title, he also became the first Swede to hold the World Heavyweight Championship. But, he did much more than that.

Even though Ingemar was champion for less than a year, he singlehandedly revived boxing which, under the reign of Floyd Patterson, had begun to become more of a sideshow.

Ingo1In this book Ken Brooks writes not only about Johansson, but also pens an excellent history of boxing during the late 50s and early 60s. It turns out Cus D’Amato was not the valiant warrior against organized crime that so many believe he was. He had his own criminal connections, and Mr. Brooks lets us in on them. While D’Amato is remembered for standing up to Jim Norris and the IBC, he was not looking to clean up boxing. Rather, he was attempting to make his own power grab. This all makes for fascinating and enlightening reading.

It is interesting to contrast Johansson’s rise up the ranks with the two best known of D’Amato’s protege’s, Patterson and Mike Tyson. Mr. Brooks points out the fact that Ingo never fought an opponent who had a losing record

Ingo never fought an opponent who had a losing record

. Every one of his fights were against fighters who had more wins than losses. Compare that with the steady stream of hand picked opponents that both Mike and Floyd faced on the way up. Ingo earned his title shot by knocking out number one contender Eddie Machen, a man Patterson refused to grant a chance to.

On the night he won the title from Patterson with a devastating seven knockdowns in the third round, very few people gave Johansson any chance of winning the fight. He didn’t appear to have trained very hard for the fight, and in the first round he didn’t appear particularly fired up. Ingo’s laid back personality carried through with him when he climbed through the ropes. The reality was, even though he often seemed disinterested in boxing and more interested in having a good time, Johansson loved boxing and took it very seriously.

Johansson loved boxing and took it very seriously

He had developed an awkward yet effective style that worked well enough to gain him the world title.

Ken Brooks covers much ground in his taut and concise book. Readers learn about Howard Cosell’s first time behind the mic for a national broadcast. The unlikely friendship between Sonny Liston and Johansson. Ingo actually made Sonny smile, and they enjoyed each other’s company. We get the truth behind the two round sparring session between a young Cassius Clay and the former champion that took place before the third Patterson fight in Miami. A myth has grown around this, and once again, the author delves into what actually happened that day.

Ingo and Sonny
Ingo and Sonny

Ingemar’s social life was more one of Hollywood celebrity than professional athlete. The new champion was extremely popular in the United States, particularly among females. His good looks and dimpled chin coupled with his charm made him very sought after. Among his paramours was Elizabeth Taylor. You can get a glimpse of this attraction by looking on Youtube at his appearance on What’s My Line as well as his time on the Dinah Shore Show where he sings and banters with his host. The Champ had a great singing voice.

Mr. Brooks also gives us details on Ingo’s marriages and home life. The saddest part is the description of his final years when dementia set in. Johansson did not want people to think his illness had come from boxing. He loved the sport that much, but it was indeed the tragic outcome of the blows he took to the head.

On a happier note, Ingo was one of the few boxers to leave the sport financially well off. He eventually bought a small motel in Florida where he enjoyed a number of very happy years. He also resisted a number of lucrative offers to return to the ring. When he was done fighting the decision was final.

Ingemar Johansson: Swedish Heavyweight Boxing Champion is a must read even for the most casual of boxing fans. Ingo deserved to have a good book written about him, and Ken Brooks has done him that service.

What Are Friends For

Significant Other”
SpeakEasy Stage
Now Through October 8th

reviewed by Bobby Franklin

Significant Other  by Joshua Harmon, who’s Bad Jews was a great hit last year, opens with Jordan Berman (Greg Maraio) celebrating the news of his friend Kiki’s (Sarah Elizabeth Bedard) engagement to be married. Kiki and Jordan are joined by two other long time friends Laura (Jordan Clark) and Vanessa (Kris Sidberry). They are sharing a scorpion bowl and Kiki is feeling no pain. Soon the conversation turns to Jordan, who is gay, and how it is time for him to find a significant other. We learn that Jordan tends to obsess over romantic interests and is now attracted to Will (Jared Troilo) from his office, who may or not be gay.

Vanessa, Jordan, and Laura (Photo: Justin Saglio)
Vanessa, Jordan, and Laura
(Photo: Justin Saglio)

As the play progresses we watch as Jordan pursues Will both in real life and in fantasy. It is very interesting to see how this is staged, having Jordan speak to his friends while also in the moment with Will. It is almost as if the action pauses so he can update his friends. The effect works very well.

As time goes on we see that Jordan has not been able to make a connection with Will or any other man. Meanwhile, Vanessa and Laura join Kiki in walking down the bridal path. This leads Jordan to feeling a bit of a loser. He also begins to feel he is losing his friends and his sadness turns to anger when he confronts Laura at her bachelorette party. it was at this point Jordan started to get under my skin. Sorry, I just cannot feel sorry for someone that selfish.

At first I felt sadness for for Jordan, but my sadness turned to anger at him for his selfishness and inability to understand that life moves on and people have changes in their lives.It does not mean friendships end, but they do change, and he just cannot accept that.

It does not mean friendships end, but they do change

Throughout the play he pays visits to his elderly grandmother Helene (Kathy St. George) and hears advice about life and aging, though nothing  really seems to resonate with him.

Vanessa, Jordan, and Kiki )Photo: Justin Seglio)
Vanessa, Jordan, and Kiki
)Photo: Justin Seglio)

As I was watching Significant Others I couldn’t help but think about Company which I had seen last week. Company had a similar theme about people moving on with their lives and dealing with how these changes effect friendships. What I found striking was, even though the characters in Company are only a few years older than those in Significant Others, they are much more mature than Jordan and his friends. Company was written in 1970, and I think by comparing the two we see how much longer it takes people to grow out of adolescence today. There were times during this play when I just wanted to shout out “Grow up, the world does not revolve around you!”

Okay, so this is not a group of people I would want to spend time with. Having said that, the production is well done, though I feel the play have been shorter. A number of points were made and did not have to be repeated.

It is very funny, and all of the players are quite good.

Greg Maraio has terrific talent

Greg Maraio has terrific talent which is why I disliked his character so much. Unless, of course, he was going for sympathy. If that was the case, I missed it. But i don’t think so. I believe Mr. Maraio captured the frustration and anger that too many young people feel when they realize life is a bumpy ride.

It’s funny, but the SpeakEasy Stage has a way of leaving me thinking about their productions for days after I have seen them. Leaving the theater I felt I really did not like this play. But, I think i could spend hours talking about it.

Significant Other
Directed by Paul Daigneault
SpeakEasy Stage Company
Calderwood Pavilion
527 Tremont Street In The South End
speakeasystage.com
617.933.8600

It’s A Lovely Sunday At The Huntington

Sunday In The Park With George
At The Huntington Theatre Company

reviewed by Bobby Franklin

Company of Sunday in the Park with George (Photo: Paul Marotta)
Company of Sunday in the Park with George
(Photo: Paul Marotta)

This past Saturday I saw the matinee performance of the Huntington Theatre Company’s production of Sunday In The Park With George, Stephen Sondheim’s classic musical inspired by the George Seurat painting A Sunday Afternoon on the Island of La Grand Jatte now playing at the BU Theatre. It was my first time seeing it and I had done some research before going. Reading background pieces about the play made it sound like it was going to be a complicated work and, perhaps, a bit difficult to understand, particularly the second act.

The Huntington has given Boston theatre goers a treat that is not to be missed.

This Sunday In The Park With George is a gift that is not to be missed.
It is complicated, but it certainly is not a difficult play to enjoy. Yes, it has many layers, and I can certainly see why so many people return to see productions of it over and over again. It is one of those works that can be viewed just on the surface or you can dig deeper and deeper and find much more you may not have known was there at first glance. And that is what makes it so wonderful.

I have come a bit late to Sondheim in my theatre going life, this being only the third work of his I have seen performed on stage, the second having just been last week when I saw the Lyric Stage production of Company. I am now hooked.

Adam Chanler-Berat and Jenni Barber (Photo: Paul Marotta)
Adam Chanler-Berat and Jenni Barber
(Photo: Paul Marotta)

As I settled into my seat just in time for the opening act I was already taken with the set. When Jenni Barber appeared as Dot modeling for the artist George, and sang the title song, I knew this was going to be something special. Jenni Barber has talent, not just talent, but that rare ability to convey so much with a nod, a glance, and a pause at just the right time. Add to this her lovely voice, and, well, you have to see her.

This is not, however a one person show. Adam Charnier-Berat as George is in command of his role as the artist obsessed with his work. He moves about the stage with his sketch book sneaking looks at the people in the park for his painting which they will appear in. The use of the stage as a canvas for his work is pleasing to the eye with scenic design by Derek McLane.

Josh Breckenridge, Adam Chanler-Berat, and Aimee Doherty (Photo: Paul Marotta)
Josh Breckenridge, Adam Chanler-Berat, and Aimee Doherty
(Photo: Paul Marotta)

The entire cast is very strong. I was particularly impressed with Aimee Doherty as Yvonne who underplayed her role just right. Josh Breckenridge as Jules and Bobbie Steinbach as Old Lady are a joy to watch.

The musical score by Sondheim is not one that has you leaving the theater humming the tunes. Rather, it is an integral part of the story. Sondheim writes the music in a way that complements Seurat’s pointillist style of having the eye connect the dots in a painting. The music does the same thing only for the ear. It is subtle but effective. It is played by an eleven piece orchestra conducted by Eric Stern.

As for that troublesome second act where the action moves from 1884 to 1984. I saw no problem at all with it. Under the direction of Peter DuBois it was very clear what Mr. Sondheim meant.

Sunday In The Park With George at the BU Theater is an experience theatre goers will not soon forget.

A delectable treat for the eyes and ears. This production connects the dots.

It is a delectable treat for the eyes and ears. This production connects the dots and is not to be missed. You will be sorry if you do.

The Huntington Theatre has promised to produce all of Stephen Sondheim’s plays over the next few years. This is wonderful news. If they come anywhere near the current work being performed on their stage we are in for a great ride.

It looks like I have come to Sondheim at just the right time. I encourage you to jump on board as well. Sunday In The Park With George at the BU Theater is not a bad place to start.

At the BU Theater through October 16th
Huntington Theatre Company
BU Theater, 264 Huntington Ave., Boston
617.266.0800
huntingtontheatre.org

Unforgotten, The Paul Pender Story

A Very Important Film That Will Save Lives

by Bobby Franklin

unforgotten-the-story-of-paul-pender_poster_goldposter_com_1-jpg0o_0l_800w_80qA few years ago film director Felice Leeds got in touch with me about a film she was making about Paul Pender. She told me it would be dealing with more than just Paul’s career as a boxer. We exchanged emails and phone calls. Occasionally, I would hear the production was making progress, but I have been approached by other people trying to make boxing films, and they never seem to go anywhere. With this history, I really wasn’t expecting much from Ms Leeds’ project.

Last Sunday I finally got to see the finished product at a screening at the Boston Film Festival. Not only is this documentary one solid production, it is also an extremely important film.

In 2003 former World Middleweight Champion Paul Pender died at the age of 72. For the previous 15 years it had been thought Paul was suffering from Alzheimer’s Disease. It wasn’t until his brain was examined after his death that it was discovered not to be Alzheimer’s but rather Chronic Traumatic Encephalopathy (CTE), a disease caused by mild repetitive trauma to the head. These sub-concussive blows to the head are most serious when received at a young age. It was found that Paul had a very serious stage of the disorder CTE (stage 4). It became the  index brain for the research that is ongoing Boston University and is the brain all other cases are compared to.

Paul Pender
Paul Pender

Unforgotten, The Paul Pender Story tells us about Paul’s life, his boxing career, his outspokenness about the corruption in the sport, and his battle with recurring hand injuries that often put his quest for the title on hold. There is amazing footage of Paul’s fights, of him training at the New Garden Gym, as well as taped interviews with the champ. Watching the Brookline fireman’s rise to the top culminating in his winning the title from Sugar Ray Robinson is a great story in itself, and boxing fans will be thrilled with just that.

However, there’s much more to this fine movie. We learn that on top of being a great boxer, Pender was also a very intelligent man who attended elocution school and loved to quote Shakespeare. If things had been a bit different for him he very well may have ended up a college professor. He certainly possessed the intellect for it. We also become aware that his very strong brain was also being damaged over his years of playing contact sports.

While CTE was first thought to primarily affect boxers (dementia pugilistica) it has been found to be prevalent among football players as well. It is a progressive disease that can also occur in anyone, not just participants in contact sports, but also in those who have suffered repeated repetitive head trauma in other ways.

Dr. Ann McKee directs the Boston University CTE Center based at the Veteran’s Administration Medical Center in Bedford, MA. In the film she points out how the younger a person is when they suffer a head injury the more susceptible they become to developing CTE later in life. It is very possible Paul Pender already had damage from his days of playing high school football

It is very possible Paul Pender already had damage from his days of playing high school football

in Brookline. If that damage already existed it would have been exacerbated by his career as a boxer. This is something that should give every parent pause when they are considering allowing their son or daughter to play a contact sport. Once damaged, the brain does not heal.

Tony DeMarco and Felice Leeds
Tony DeMarco and Felice Leeds

In a panel discussion after the film Dr. Robert Cantu, author of Concussions And Our Kids, talked about someday having tests that will show whether or not signs of CTE are beginning to show in the brain. Right now the only way to know for certain is to examine a brain after the patient has died. Could finding markers early on help prevent the onset of symptoms later in life? That is a question that can’t be answered, but at least the person, such as a boxer, could be denied a license to fight so that the damage is not made worse. He also points out that research needs to be done on the brains of people who have participated in contact sports but are asymptomatic. It has always been a puzzlement as to why some athletes, in spite of having received repeated blows to the head, never develop CTE. There is so much more to be learned about this terrible but preventable disease.

This movie is great on so many levels. It finally gives Paul Pender the respect and recognition he deserves for his great boxing ability. He has been known as the forgettable boxer, but

after watching this film you will never forget Paul Pender

after watching this film you will never forget Paul Pender.

Audiences are also brought back to the days when boxing was one of the most popular sports in the country. The time when great fighters like Tony DeMarco made Bostonians proud. Tony, along with fellow boxers Joe DeNucci, Tom McNeeley, and Matt Farago are interviewed. Former great amateur boxer Richard Torsney, a longtime friend of Pender’s, gives us insight into the personal side of the Champ. Historian Dan Cuoco and author Mike Silver (Stars In The Ring and The Arc of Boxing) not only share their insights about the finer points of the art of boxing, but also discuss the emotional side of  what it means to be a boxer. Mr. Silver describes it as a “Calling”.

Rose Pender
Rose Pender

Director Felice Leeds reminds us of a person who should definitely not be forgotten, and that is Rose Pender, Paul’s widow. Ms Leeds describes her as the true hero in this story, and I couldn’t agree more. It is Rose who got this all started by making the difficult decision to allow Paul’s brain to be used for research. This courageous woman who spent years caring for her husband while raising a family now has allowed the rest of us to benefit from the research that is based on her husband’s brain. Her action will save lives and prevent much suffering. We all owe Mrs. Pender much gratitude.

Felice Leeds has made a fine documentary. As I wrote earlier, it is an important piece of work and deserves a wide audience. It is time we as a society look at what is happening on the playing fields and in the boxing rings. It is time we consider the danger we are putting our fellow human beings into for the purposes of entertainment. It is time we work to make sports safer while still retaining the competitiveness that builds character and self-discipline.

Richard Johnson, the curator of the Sports Museum in Boston, best described this film during the panel discussion. I believe he was quoting Paul Pender when he said “It is a full day if you have laughed and cried.” This documentary will make you do both.

Many thanks to Felice Leeds for making this film. I urge everyone to see it when they have the chance. It will make you laugh and cry. And I hope it will make you think about the price so many athletes pay for entertaining us.

Trailer: Unforgotten, The Story of Paul Pender from Felice Leeds on Vimeo.

Million Dollar Quartet Returns To Ogunquit Playhouse

Elvis Presley, Johnny Cash, Carl Perkins and Jerry Lee Lewis Back by Popular Demand 
in the High-Voltage Rock ‘n’ Roll Musical Million Dollar Quartet 
at the Ogunquit Playhouse through November 6th!

2015_MDQ_Robert-Britton-Lyons-Carl-Perkins-Sam-Weber-bass-David-Sonneborn-drums-Nat-Zegree-Jerry-Lee-Lewis-Jacob-Rowley-Elvis-Presley-Scott-Moreau-Johnny-Cash_photo-by-Jay-Goldsmith_pressThe Ogunquit Playhouse is bringing back the most popular show in its history, the Tony Award-winning musical Million Dollar Quartet, on stage October 5 through November 6. This high voltage rock ‘n roll show, with book by Colin Escott and Floyd Mutrux, is inspired by the electrifying true story of the famed recording session that brought together music icons Elvis Presley, Johnny Cash, Jerry Lee Lewis and Carl Perkins for one of the greatest jam sessions of all time. Featuring timeless hits such as “Blue Suede Shoes,” “Great Balls of Fire,” “I Walk the Line,” “Whole Lotta Shakin’ Goin’ On,” “Fever,” “Folsom Prison Blues,” “Hound Dog” and more, this thrilling musical brings audiences inside the recording studio with four major talents who came together as a red-hot rock ‘n’ roll band for one unforgettable night.
This exciting show features an incredible score of rock ‘n’ roll, gospel, R&B and country hits, performed live onstage by world-class actors who play their own instruments, as well as sing and perform. Returning as the energetic Jerry Lee Lewis is Nat Zegree, who had audiences jumping to their feet with excitement in the 2015 production. Over the last year he has performed at Arena Stage Company in the brand new Pasek and Paul musical Dear Evan Hansen and recently performed multiple sold out concerts at 54 Below, The Laurie Beechman, and Don’t Tell Mama’s in New York City. Scott Moreau is also returning to the Ogunquit stage to once again play Johnny Cash. He recently performed the role in Million Dollar Quartet at Harrah’s Casino in Las Vegas and in the first National Tour. Mr. Moreau has also performed in National Tour of A Christmas Carol as well as many regional theatres throughout the U.S. in such shows as Ring Of Fire, Johnny Guitar, Mary Poppins, Oliver!, Joseph and the Amazing Technicolor Dreamcoat and Ragtime. He has also appeared as Young Jim Neary in the series finale of HBO’s “Boardwalk Empire.” Making his debut at the Ogunquit Playhouse as Carl Perkins is James Barry. Mr. Barry has performed on Broadway in Bloody Bloody Andrew Jackson as well as the National Tour of Million Dollar Quartet. His many New York and regional theatre credits include Pump Boys & Dinettes, These Paper Bullets and The Buddy Holly Story. Joining the cast as Elvis Presley is Beau Cassidy who is also making his Ogunquit Playhouse debut. He is the third member of his family to perform at the historic theatre; his uncle Shaun Cassidy appeared on stage in 1982 and his grandfather Jack Cassidy in 1973. His regional theatre credits include A Hatful of Rain, Proof and The Wedding Singer, and he has appeared on television’s The Voice. He was most recently seen as Mickey Johnston at Feinstein’s/54 Below’s concert of Willy Russell’s Blood Brothers. Mr. Cassidy is also an accomplished songwriter, penning multiple charted pop songs.

The role of Sam Phillips is played by Jason Loughlin who is also returning after playing the role in the 2015 production at Ogunquit Playhouse. Mr. Loughlin was most recently in The Audience with Helen Mirren on Broadway. His other recent credits include the Broadway production of Machinal directed by Lyndsey Turner and the National Tour of War Horse as Major Nichols. Bligh Voth also returns from the 2015 production to play Elvis’ girlfriend Dyanne in the production after spending last year playing Dyanne regionally and internationally. She has performed in regional theatres throughout the U. S., including Signature Theatre, Ford’s Theatre, Kennedy Center Millennium Stage, Lyric Theatre and Boston Conservatory.

www.ogunquitplayhouse.org or call the Ogunquit Playhouse Box Office at 207-646-5511.

Warrior Class At The Lyric Stage Boston

Kenneth Linn’s New Play Opens October 21 And Runs Through November 13

warrior-classPlaywright Kenneth Lin (TV’s House of Cards) delivers “an absorbing, incisive new play that crackles with authenticity” (NY Times), just in time for the climax of a surprising election season. Michael Tow (Chinglish) plays a New York assemblyman who’s been dubbed “The Republican Obama.” The son of Chinese immigrants and a decorated war veteran, he looks forward to a seemingly limitless political career. When someone from his past threatens to reveal a college transgression, he must decide how far he’ll go to keep the incident out of the public eye. Whatever his decision, the consequences may be costly.

lyric_weblogoFor more information: lyricstage.com  Box Office: 617-585-5678

 

 

Figuring Out Sonny

Figuring Out Sonny

After 46 Years Liston’s Death Is Still A Mystery

The Murder Of Sonny Liston: Las Vegas, Heroin, And Heavyweights Blue

by Shaun Assael, Rider Press

reviewed by Bobby Franklin 

sonny-assaelIt has now been almost 46 years since Sonny Liston was found dead in his Las Vegas home by his wife Geraldine. His death was officially ruled as being from natural causes, though there were traces of heroin in his blood and needle marks on his arm. There were and are many who believe he was murdered, but nobody has been able to come up with any proof. Geraldine Liston died in 2005. Most of the people who knew Sonny, if it was possible to know him at all, have passed on.

 

Much has been written but little is really known about the former heavyweight champion. Nobody knows for sure when Sonny was born, and that includes the late champ himself. Springs Toledo in his fine book The Gods Of War did some excellent research and pegs Liston’s birthdate as July 22, 1930. If not exact, I believe it has to be close. Listening to some people you would believe The Bear was born in the Middle Ages.

 

sonny-liston11-530x317Liston, in his prime, was devastating. While champion Floyd Patterson ducked him, Sonny singlehandedly cleaned out the heavyweight division. When Patterson finally agreed defend the title against him in 1962 Liston walked right through Floyd knocking him out in the first round. He repeated his performance a year later. At this point it appeared Sonny would be champ forever. His association with crime figures kept him from being able to obtain a license to fight in New York. It has been said that after he won the title and was en route back to his home in Philadelphia, he wrote a speech expecting to be greeted by well wishers when he disembarked from the plane. The story goes that he wanted to be a good champion and show the world a different side. When he arrived there was nobody there to greet him. He tore up the speech and accepted his role as the bad guy of boxing.

 

Liston would go on to lose the title when he took on the only heavyweight even more controversial than he was, Cassius Clay. He also lost the rematch. Both fights have been shrouded in mystery and have defined Liston. He would continue to fight but never again was he able to get another chance at the crown.

 

sonny_airport_waving-530x317In a new book (The Murder Of Sonny Liston: Las Vegas, Heroin, And Heavyweights, Blue Rider Press) to be released in October, author Shaun Assael, a member of ESPN’s investigations unit, takes a look at the life of Sonny Liston. While Mr. Assael touches on the controversial Clay/Ali fights, he focuses primarily on Liston’s final days and his life in Las Vegas. He also delves into finding out the real cause of Sonny’s death.

 

As Liston’s boxing career started to fade, he became more and more involved with the drug scene in Vegas. Liston was always in need of money. He had nothing from his days as champion. For his last fight, defeating Chuck Wepner, Liston received $13,000.00, $10,000.00 of which he used to pay a gambling debt, the rest went for expenses.

 

Mr. Assael gives a great overview of the crime ridden Las Vegas of the late 60s heading into the 1970s. The mob was still active there as Howard Hughes was making inroads in buying up hotels and casinos in an effort to clean things up. It was a murky and sordid world, but one in which Sonny would have felt very comfortable moving through.

 

Sonny and Geraldine
Sonny and Geraldine

If Liston was indeed murdered, what was the motive? The author speaks with the few remaining people who were involved in the Vegas scene back them. Former cops, undercover drug agents, and dealers. He tracks down a good cop gone bad in Larry Gandy whom he interviews. Assael considers Gandy a prime suspect in Liston’s murder, but is sent on another trail after speaking with him.

 

He traces events back to a drug raid where Liston was present but was allowed to walk while everyone else was arrested. Was this a sign that Sonny was an informant? I don’t think there is enough here to back that up. Liston didn’t like cops. He also appears to have been a fairly small time dealer who ended up using. Is it possible others mistakenly believed he was an informant and had him taken out because of that belief? Sure, but again, there is no solid evidence.

 

One part of the book I found to be very enlightening was where the author dug in and found information about a car accident Liston was involved in not long before his death. I had heard about a crash, but I did not know how seriously Sonny was injured. In the head on collision Sonny’s chest was jammed up against the steering wheel. He had shards of glass in his face that had to be removed in the hospital. A week later Liston asked his wife Geraldine to take him to the hospital as he was experiencing discomfort in his chest. I see this as being more of a contributing factor in his death.

 

Liston was somewhere around forty years of age when he died. He had led a hard life. Heavy drinking and drug abuse were showing on his face. I doubt he had the best dietary habits. The injuries from the car accident coupled with his complaints about chest pain make heart disease appear to be a stronger suspect in his death than a mob hit.

 

liston-graveNobody really knew Sonny Liston, and that includes Liston. Mr. Assael’s book adds to the little that is known and is a good contribution to the literature about the champ, but, as much as it may fit into the narrative of Liston’s life, I am not convinced Liston was murdered. He was a man who was old beyond his years. I believe he wore his body down and finally succumbed to heart disease.

 

Mr. Assael makes a strong argument for Liston’s death being murder, but he is unable to tie it all up. The value in this book, and it is very well worth reading, is in tracing Sonny Liston’s final days. In exposing the corruption of Las Vegas back in the day.

 

It is important to know there is much more mystery to Liston’s life than his two fights with Ali. For a man who said very little he was actually a quite complicated individual. Mr. Assael’s book, while trying to answer questions, actually raises many more. Sonny’s life is like a mystery novel with the final page torn out. Will we ever know the truth about him? I doubt it, but with books like this he will remain a fascinating subject.

Million Dollar Quartet Is Rocking Ogunquit

Million Dollar Quartet At The Ogunquit Playhouse

Through November 6th

reviewed by Bobby Franklin

Photo Credit: Gary Ng
Photo Credit: Gary Ng

Last year the Ogunquit Playhouse had a huge hit with Million Dollar Quartet, the fictionalized account of the day in December, 1956 when Elvis Presley, Jerry Lee Lewis, Carl Perkins, and Johnny Cash all happened to drop into the Sun Records studio and proceeded to participate in a memorable session of music and talk. The show was so popular Playhouse Artistic Director Brad Kenney decided to bring it back to cap off what has been a truly incredible season.

While the meeting between the four legends did indeed take place, and it was the only time they ever performed together, the authors of the play decided that instead of recreating that day song for song, they would give us a look at what went on over a longer period. While doing this they include some very interesting history of the early days of rock and roll, a music many never expected to last more than a short while. We get to know Sun founder Sam Phillips, a man who had an amazing eye for talent, but the inability to hang on to those performers once he got them started. Without Sam Phillips there probably would not have been rock and roll.

While the history lesson is important and well done, Jason Loghlin is outstanding in the role of Phillips, it is the music that electrifies the stage in Ogunquit. This show puts the heat in those Great Balls of Fire that blaze across the stage.

This show puts the heat in those Great Balls of Fire that blaze across the stage.

Nat Zegree is frenetic and a real wild child in the part of Jerry Lee Lewis.He is one damn good piano player as well as an acrobat who uses the keyboard as his personal pummel horse. At times I was looking for the wires that I thought must be attached to him as he was flying through the air so much, but he performed with no strings attached and burned up the stage from beginning to end.

Nat Zegree is a real wild child in the role of Jerry Lee Lewis.

James Barry portrays the legendary Carl Perkins brilliantly. He not only was note perfect on the guitar, but he conveyed a respect for the man who it can be argued was the father of rock and roll. Barry gives us the music and the man. The public should never forget Carl Perkins and his importance in the history of rock and roll. James Barry is seeing that they never will.

James Barry portrays Carl Perkins brilliantly.

While it is unclear whether or not Johnny Cash actually joined in on the original jam session, it is a fact that he was a major player in the early days of Sun Records. With Scott Moreau cast as the young Cash, we see him again with his deep voice and haunting look. Moreau should consider doing a tribute show dedicated just to Johnny Cash. He captures him beautifully.

Oh, there was another musician there that day. His name was Elvis Presley. Elvis had moved on from Sun Records and had hit the big time, but his heart was still in the Memphis studio. Beau Cassidy takes on the young Elvis, and, contrary to what many believe, it is a difficult part to play. How do you capture the amazing talent and charisma of the 1956 Elvis without looking campy and exaggerated? Mr. Cassidy is not an Elvis impersonator. He does not stand on the stage and do a take off on Elvis. Instead, he gives us a look into the heart of the man who, while he has made it big, is still very much at home in the small studio with old friends and a new talent. Cassidy captures Presley with his eyes more than his hips and it works very nicely. Oh, you will not be disappointed in his renditions of the music as he gets it right on every number.

Photo Credit: Julia Russell
Photo Credit: Julia Russell

Mr. Kenney has assembled his own million dollar quartet with the performers he has found for the parts. Each is an accomplished musician who can also act. They play well separately and are rock solid when performing together. They are backed up by Nathan Yates Douglass as Carl’s brother Jay on bass and by David Sonneborn on drums.

Bligh Voth plays Elvis’s girlfriend and she also sings two numbers, the very, very hot Peggy Lee hit Fever and the rocking I Hear You Knocking. Voth almost just about makes this a million dollar quintet.

it is hotter than a summer heatwave at the Playhouse.

The weather may be cooling as the season changes, but it is hotter than a summer heatwave at the Playhouse. I highly recommend Million Dollar Quartet. This show will leave you with a whole lot of shaking going on.

The Original Million Dollar Quartet
The Original Million Dollar Quartet

Million Dollar Quartet now through November 6th.
Ogunquit Playhouse, Ogunquit, ME
ogunquitplayhouse.org
207.646.5511

New England Premiere of The Scottsboro Boys

Presented By SpeakEasy Productions

October 21st ThroughNovember 20th

Calderwood Pavillon, Boston 

sb-psdFrom October 21 – November 20, 2016, SpeakEasy Stage Company will proudly present the New England Premiere of THE SCOTTSBORO BOYS, a bold new musical by Broadway legends John Kander and Fred Ebb about a sensational true story that changed American history.

The musical, with a book by David Thompson, and which was originally directed and choreographed by Susan Stroman, brings to light the shocking true story of nine African-American teenagers jailed in Alabama in 1931 for a crime they did not commit. With an exhilarating and infectious score that mixes gospel, jazz, and vaudeville, THE SCOTTSOBORO BOYS flips the script on the classic minstrel show to lay bare the fateful case that inspired the American civil rights movement.

THE SCOTTSBORO BOYS was the final collaboration for Kander and Ebb

Nominated for 12 Tony Awards, THE SCOTTSBORO BOYS was the final collaboration for Kander and Ebb, whose works include such musical theatre classics as Cabaret, Chicago, and Kiss of the Spider Woman.

SpeakEasy Founder and Producing Artistic Director Paul Daigneault will direct the New England premiere of THE SCOTTSBORO BOYS. Winner of the 2014 Elliot Norton Award for Sustained Excellence, Mr. Daigneault’s SpeakEasy directing credits include productions of Significant Other, Violet, Mothers & Sons, Big Fish, The Color Purple, In the Heights, and Next to Normal.

IRNE Award nominee Matthew Stern will serve as Music Director and Norton Award-winner Ilyse Robbins will choreograph.

The cast for this production includes Darren Bunch, Shalaye Camillo, Taavon Gamble,
Russell Garrett, De’Lon Grant, Brandon G. Green, Sheldon Henry, Wakeem Jones, Steven Martin, Darrell Morris, Jr., Maurice Emmanuel Parent, Aaron Michael Ray, and Isaiah Reynolds.

The design team is Eric Levenson (scenic); Miranda Giurleo (costumes); Daisy Long (lighting), and David Remedios (sound).

THE SCOTTSBORO BOYS will run for five weeks, from October 21 through November 20, in the Roberts Studio Theatre in the Stanford Calderwood Pavilion at the Boston Center for the Arts, 527 Tremont Street in Boston’s South End.

Ticket prices start at $25, with discounts for students, seniors, and persons age 25 and under.

For tickets or more information, the public is invited to call the box office at 617.933.8600 or visit www.SpeakEasyStage.com .

Rage Management

Southpaw

reviewed by Len Abram

southpaw-week-movies-slider“The decision is unanimous: Prizefighting is the movies’ favorite sport,” writes critic Mark Feeney. Over 50 boxing films have been produced since 2000, four since 2015. The decline of boxing from its golden era, the troubling questions about the safety of the athletes, and the rise of competing mixed martial arts make the popularity all the more surprising. 

Boxing caught the public imagination in a way that team sports have not. Stars like Tom Brady and LeBron James excel because fellow players provide blocking and ball handling to make their superb achievements possible.

Unlike team sports, the boxer, nearly naked, battles alone.

The public admires the dedication of the solitary boxer to train for the fight and the courage to risk brain and body in pursuit of victory. Unlike team sports, the boxer, nearly naked, battles alone. His trainer, his seconds, perhaps a manager, often experts on cuts and bruises at ring side, and with family and friends cheering, all these count.
At the bell, however, and off the stool, he stands by himself. His skills for offense and defense, plans for victory, and training come down to a kind of moment of truth. Can he win or avoid a humiliating defeat? Can he protect himself from injury? After this contest, will he fight another day?
As metaphors go, in boxing movies there can be another opponent in the ring, the boxer himself. Self-knowledge and self-mastery can turn out to be his most fundamental adversaries, as they are in “Southpaw.”

Redemption is prime thematic territory for the boxing movie.

The movie “Southpaw” (2015) opened to mixed reviews and public endorsement. Costing $30 million to produce, the movie grossed over $90 million. It is directed by Antoine Fuqua, written by Kurt Sutter, and stars Jake Gyllenhaal (as Billy Hope) Forest Whitaker (as Tick Wills), Rachel McAdams (as Maureen Hope), and Oona Laurence (as Leila Hope).

Praise came for directing and performances, even for the child actor who plays the fighter’s daughter. The complaints were for the predictability of the boxing movie plot. The “familiarity” of the boxing film genre drives some critics away, says Brian Tallerico, but not viewers looking for “an old fashioned tale of redemption.”

Redemption is prime thematic territory for the boxing movie. The hero suffers the changes of fortune, such as the rags-to-riches and riches-to-rags plots of the films. The Rocky movies played the theme both ways, Rocky on his way up, down, and back up. Very often how the boxer hero handles defeat portrays his true character, the test of resilience.

Writer Kurt Sutter draws on another familiar plot mechanism: the brash self-promotion of a younger opponent wishing for a title shot. The upstart insults the resident champ in public, Billy Hope, demeaning his achievements and embarrassing him in front of his wife. It happens in Rocky III and in “Southpaw” too, with much more tragic results.

Twice in the movie Sutter uses naming to express an idea.

Sutter is well aware that he’s drawing on conventions, for others the clichés, of his genre. A play or a movie expects the audience to play along with the premises of the story and to identify with its hero. Twice in the movie Sutter uses naming to express an idea: his hero will have to exert his will to define himself anew.

The name William or Billy suggests that Billy is a person, who needs to apply his will to shape his fate. His trainer in the story, Tick Wills, another use of the name, teaches Billy that he must first control his own anger.

Billy Hope fights well because he has enough anger, enough rage, to fuel his ferocity in the ring. Billy, however, is not a smart fighter. He gets hit too much. Anger, Wills teaches, tires the fighter quicker and leads to impetuous mistakes. Boxing is intellect over brawn.
Wills quotes the great Benny Leonard: boxing is a chess game. For Hope, it’s a brawl to prove he’s tougher than his opponent. Hence the beating he allows himself to take. His left eye needs protection; he could go blind. So too, Billy has been blind to his behavior, contributing to the mess his life has become.

Wills quotes the great Benny Leonard: boxing is a chess game.

The movie opens with the ritual of the hands, their supervised taping in pristine white gauze and tape, so at odds with how they will be used. When Billy’s wife encourages him before the fight, she begs him to protect himself. By the end of the bout, Billy’s face is splitting blood from cuts like an overripe tomato. He proclaims his victory to the crowd, vaulting high on adrenalin, vaunting like a proud ape. Our sympathies take a while to collect for him.

From foster homes to $10 million a fight is what we learn about Billy. In an mansion outside of New York City, the champion lives with his family, the bonds of affection between Billy, Maureen and Leila their daughter powerfully acted. The reversal, to use Aristotle’s term, takes place at a charity event, where Miguel Escobar, the up-and-coming challenger, insults the champ. This is the moment of truth, as his wife cautions self-control, of which Billy has little. That tragic mistake, which done cannot be undone, is Billy’s, as he will have to admit, under the direction of his mentor, trainer Tick Wills, played by Forest Whitaker. 

From there, Billy goes down for a count of 100. He loses his discipline, abuses drugs and alcohol, contemplates suicide and revenge, even loses his daughter to the state. From a mansion of many rooms to a few hundred square feet dingy apartment. Bleak for sure, but the neighborhood does have a boxing gym run by trainer Tick Wills.

Boxing is not only his way to earn a living and get his daughter back, it’s also his redemption. Wills is the mentor who teaches him the chess board of boxing, in which fighting southpaw will turn out to be a powerful tool. Billy gains self-control and self-knowledge. The judge in child services congratulates Mr. Hope for his turnaround.

In the final bout of the movie, Billy nearly falls back into rage and lose the fight. His mentor Wills and the memory of his beloved wife Maureen, whose name is tattooed on his back, return him to his senses. He is back in charge.

Audiences applaud this boxing movie and the genre in general. In “Southpaw,” Billy Hope and hope triumph over circumstances, given the discipline to train, the humility to learn, and the courage to face the opponent in the ring.

Where No Man Has Gone Before

Shatner’s World: We Just Live In It

October 15th

Hartford’s Bushnell Theater
Reviewed By Edmond D. Smith

shatner-one-man-show_After being in show business for over 60 years it’s not surprising that a person should have a large store of good stories to tell. But it’s something of a wonder that at 85 he could tell them with the same kind of energy and enthusiasm that a man 30 years younger would have a hard time summoning.

Famed actor, writer, director and cultural phenomenon Williiam Shatner’s one man show, Shatner’s World: We Just Live In It, presented October 15 at Hartford’s Bushnell Theater was funny, moving, interesting, and totally engrossing. At 85 Shatner spent over 2 1/4 hours flawlessly and engagingly delivering the story of his life. He incorporated movie clips, TV clips, music and ended the night with a song. He was unfailingly warm and Real, which just happens to be the title of the song he closed with. He didn’t shy away from some of the controversies that have surrounded him over the years, told of his post-Star Trek poverty and desperation and dropped many famous names without appearing to be a tiresome name dropper.

Shatner was often at his most affective relating stories about his family

Pacing from one side of the stage to the other, he punctuated his stories with his famous staccato delivery and physicality, rarely sitting down on the chair that was his only real prop; at one point lifting said chair above his head to highlight a particularly dramatic moment. But the whole night was not taken up solely with over-the-top gestures. Shatner was often at his most affective relating stories about his family and their varied travails including his father’s death and coming home and finding Nereen, his then wife dead at the bottom of their pool, a victim of the alcoholism she couldn’t beat. At moments like that Shatner displayed a range that most might not realize he possesses.
.
shatners-worldThematically the show touched upon life, love and the inescapability of death. He has been doing the show all around the world since 2012 and has honed it and refined it to the point where it appears to be a man just telling stories but is in fact a very well-crafted entertainment. Even if you have spent the last 60 years in a cave and had no idea who William Shatner was the show would’ve been entertaining and enjoyable. Shatner as we all know is somewhat ubiquitous so you never can tell when he might show up near your town. If he does you’d be doing yourself a favor by going to see him and finding out why this really is Shatner’s World.

-END-

 

A Powerful Lesson

August Wilson’s The Piano Lesson

At The Hartford Stage
Through November 13, 2016

Reviewed By Edmond D. Smith

the-pian-lesson-pic1916 saw the start of what has come to be called The Great Migration, the movement of millions of Southern African Americans to the North in the hopes of finding better lives than the South was affording them. Playwright August Wilson sets his famed ten play The American Century Cycle, of which the Pulitzer Prize winning The Piano Lesson is the fifth, in 1936 Pittsburgh where a large migrant population had taken root. Like all the plays of The American Cycle The Piano Lesson, currently at Hartford’ elegant Stage Theater, addresses aspects of how this dislocation impacted the African American experience.

This is what theater is all about.

The play revolves around the return of Boy Willie Charles, who has spent the last three years in Mississippi, some of the time in jail and all the time scheming how to gather the money to buy farmland in Mississippi that his family had once worked as slaves. He drives back to Pittsburgh with his friend Lymon in a truck that’s on its last legs filled with watermelons that he intends to sell to accumulate funds to help pay for the land. The last part of his plan is to sell a family heirloom, a 137 year old piano engraved with images that relate his family’s history in America currently in his sister Berniece’s possession. He returns to the bosom of a family that is unimpressed with his plans; Berniece being adamant that he will not sell what she sees as the family legacy. The stage is then literally set for a battle of how best to reconcile yesterday and today in a way that makes tomorrow worthwhile.

Christina Acosta Robinson uses her slight, almost frail body to heighten the power of her inner resolve.

The Stage has gathered an exceptional ensemble of actors who through stories and song highlight those things that have held the African American community together in their struggle in America; religion and African spirituality among them. Clifton Duncan fully embodies both the charming and manipulative aspects of Boy Willie. Christina Acosta Robinson uses her slight, almost frail body to heighten the power of her inner resolve. Other standouts are Rosco Orman (who you may remember for playing Gordon Robinson for years on Sesame Street) as Uncle Doaker who brings an appropriate naturalness and reasonability to the role. Cleavant Derricks plays Doaker’s bombastic brother and nearly stops the show with his soulful, thunderous singing voice.

Clifton Duncan and Elise Taylor Photo Credit: T.Charles Erickson
Clifton Duncan and Elise Taylor
Photo Credit: T.Charles Erickson

This terrific cast is able to express themselves to full advantage thanks to Jade King Carrol’s subtle direction which synergistically uses story, acting talent, lighting and stage design to create something greater than its already highly impressive parts. The lives of migrant African Americans in all their humor, love and desperation are sensitively evoked.

In our continuing era of racial strife, The Piano Lesson does us all a service by stripping away stereotypes to reveal the humanity common in us all. August Wilson was (he sadly passed away in 2005) not only a master of the lyricism of words but also of the human condition and brilliantly found the dignity of his characters in their everyday struggles.

With their current production, The Stage Theater burnishes their reputation of presenting important, quality theater to Connecticut. This is what theater is all about.

Hartford Stage
50 Church Street, Hartford, CT 06103
Box Office: 860-527-5151

August Wilsons The Piano Lesson

In A Class Of Its Own

“Warrior Class”

Lyric Stage, 140 Clarendon Street, Boston  Through November 13

Reviewed by Bobby Franklin

Michael Tow and Steven Barkhimer
Michael Tow and Steven Barkhimer

In this year when what surely can be called the worst presidential campaign in history is taking place, it would not surprise me if you would take a pass on seeing a play about a politician. I could hardly blame you, but in the case of Kenneth Lin’s Warrior Class now playing at the Lyric Stage Company in Boston you would be making a big mistake.

Yes, Warrior Class is about a politician. It is also about manipulation, extortion, dirty deal making, political fundraising, selling out principles, and much more. That’s right, all the things we hate about politics. It is also about much more than that.

This is a moving and emotional work.

Michael Tow plays Julius Weishan Lee, an idealistic young Chinese American New York State Assemblyman who is looking to move up and run for Congress. He enlists the aid of political operative Nathan Berkshire who is portrayed by Steven Barkhimer who is reminiscent of the real life consultant Bob Beckel. Lee is a sincere young man who wants to run and serve based on his beliefs. Perhaps he is naive, I like to believe otherwise, to think he can make it without selling out, but he wants to take that route. However, a problem arises.

In the course of preparing for the race it is revealed, not publicly, that Lee has a skeleton in his closet in the form of Holly Lillian Eames, played by Jessica Webb. This poses a potentially serious problem for the idealistic Lee who has a wonderful resume that includes serving in Afghanistan and working for Teach For America. He is coming off giving an impressive speech at the Republican Convention and is seen as a rising star on the national scene.

Steven Barkhimer and Michael Tow (Photo Credit: Mark S. HowardHolly and Nathan meet to try to work out a deal to keep things quiet. Yes, Holly, who claims to be a victim is also using the situation to blackmail Lee. It all seems like a pretty basic plot about a politician with something in his past to hide and his willingness to deal to make things go away. Something any of us over the age of two have seen in our lifetimes more often than we like.

The difference with Warrior Class is that it is much more than a sordid political story. Playwright Kenneth Lin digs deep into all of the characters. This is a moving and emotional work. It is like watching a game of chess as all involved maneuver to either gain from, suppress, or both from the incidents that occurred twenty years earlier. It turns out one of them is the chess master. During the play, which becomes quite intense, we are faced with asking ourselves questions. Can people change? Is it okay for a victim to become a perpetrator? Is it permissible for a man to use lies and manipulation in order to help a family member? Could any of us be one of the characters? Where is the line that should not be crossed? It is easy to walk away from this play feeling cynical, but I found much more to take away from this fine play.

Jessica Webb and Michael Tow (Photo Credit: Mark S. Howard
Jessica Webb and Michael Tow (Photo Credit: Mark S. Howard

Actors Michael Tow, Steven Barkhimer, and Jessica Webb are superb in their roles.

There was never a moment when my eyes left the stage

There was never a moment when my eyes left the stage,especially during the scene where Julius and Holly meet to discuss working things out. At that point emotions run very high. It is a pleasure to watch three very talented actors taking to the stage and performing seamlessly. It is performances such as this that remind me of why I am so drawn to the theatre. Dawn M. Simmons fine direction leaves enough ambiguity so when you depart the theater you will be thinking a lot about what you just saw and asking yourself many questions.

In a talkback after the performance, the question was asked if the role of Julius Weishan Lee was written specifically for a Chinese character. The answer was yes it was, but Michael Tow pointed out how different it was from so many roles he has played where he was cast because of his ancestry. He told us, while the script called for a Chinese actor, as the name implies, it could have been played by someone from any background. This freed him from feeling typecast. I agree with Mr. Tow. While the heritage of the leading character was a part of the play, it was not a play about a Chinese politician. Refreshingly, it is a play about a politician who happens to be Chinese.

While we are so focused, or perhaps, with good reason not, on the national political scene, this play will make you think more about local politics; especially, here in Massachusetts where corruption is a part of the culture.

I highly recommend you head down to the Lyric Stage and see this play. You will not be disappointed.

lyricstage.com Box Office:

617-585-5678

Laugh And Learn With The Tiger

 Tiger Style

The Huntington Theatre Company At The Calderwood Pavillon

reviewed by Bobby Franklin

A few years ago the subject of Tiger Moms, a term used to describe the hard driving parenting style of many Asian American parents, became a hot topic of discussion. For many parents this method seemed harsh, but there was also some envy in seeing how much these children were able to accomplish. What wasn’t being discussed was the effect this type of parenting would have on them as they entered adulthood, the workplace, and while interacting with more diverse social groups.

Playwright Mike Lew takes on these issues and many more with great humor and depth in his original new play Tiger Style now presented by the Huntington Theatre Company.

Rubio Qian and Jon Norman Schneider Photo Credit: T. Charles Erickson
Rubio Qian and Jon Norman Schneider Photo Credit: T. Charles Erickson

Tiger Style focuses on siblings Albert (Jon Norman Schneider) and Jennifer (Ruibo Qian) who who have both excelled academically and artistically, but are struggling now that they have left the nest. They are living together along with Jennifer’s boyfriend Reggie (Bryan T. Donovan) who is ending the relationship as the play begins. Bryan is disappointed, to put it mildly, that Jennifer isn’t more dominant in bed and more submissive around the home, while Jennifer makes it clear how vastly superior she is to Bryan because of her academic accomplishments.

Mr. Lew has written a very funny and insightful play that is fast paced and filled with witty dialog

Albert is struggling at work; not because he isn’t competent, but because he has terrible people skills. Both brother and sister, while knowing they are highly skilled, are unable to function well when interacting with others. This is a failing they begin to see and decide to blame it, with some justification, on their parents.

Francis Jue, Ruibo Qian, Jon Norman Schneider, and Emily Kuroda. Photo Credit: T. Charles Erickson
Francis Jue, Ruibo Qian, Jon Norman Schneider, and Emily Kuroda. Photo Credit: T. Charles Erickson

This leads them on a journey that begins with a planned fight with their parents (Francis Jue and Emily Kuroda), then going “full Western” in a futile attempt to distance themselves from their culture resulting in Albert losing his job and Jennifer driving a therapist to the edge of insanity. Going “full Asian” with a move to China where they eventually end up in prison; it seems living under a totalitarian government is much like having a Tiger Mom only you never get your freedom. And finally returning home with many lessons learned and much to still deal with. As mom and dad explain, life is not easy. At some point you have to take responsibility for your own success and failure.

Mr. Lew has written a very funny and insightful play that is fast paced and filled with witty dialog, such as when Albert tries to curry favor with his manager at work who is also Asian by saying “Don’t be a self-hating Asian, be a self-nepotating Asian.” Or when Jennifer tells her therapist “I want to be the best at therapy”.

While the humor continues throughout the play there is also much that is very serious and important to be learned. When mom and dad talk about the sacrifices they and their parents had to make in order to succeed in their adopted country we get a better understanding of why they drive their children to be successful. Dad, in telling the story of the struggles of his parents says “I came from laundry people”. It is a line, coming on top of the narrative of their suffering and success that hits hard. Yes, it is up from the bootstraps talk, but it is also true.

…a finely crafted work we all can learn from.

love plays like Tiger Style for many reasons including the finely written humor, but mostly because the author is able to show us the struggles within a group of Americans that have to deal with their cultural heritage for both its strengths and its minuses as well. Mr. Lew does this without making victims out of his characters and without throwing a guilt trip on his audience, but at the same time not downplaying the racism and hatred that is much too often directed at those who are new to this country. It is a finely crafted work we all can learn from.

Presented by the Huntington Theatre Company at the Calderwood Pavillon, South End, Boston
Through November 13
Directed by Moritz von Stuelpnagel
huntingontheatre.org
Box Office 617.266.0800

Uncomfortable and Very Good

The Scottsboro Boys

At The Calderwood

SpeakEasy Productions
Boston

Reviewed by Bobby Franklin

The SpeakEasy Stage’s production is as good a one as you will see.

The Scottsboro Boys was John Kander and Fred Ebb’s final collaboration. Mr. Ebb passed away in 2004 and Mr. Kander finished the play on his own. It debuted in 2010. It is a musical about nine young black men, actually boys (the youngest was only thirteen), who, in 1936, were falsely accused of raping two white women in Alabama. It is a tragic and heart wrenching story about a terrible miscarriage of justice and racism.

While the original production received 12 Tony Award nominations, it was greeted with mixed reviews and some protests when it appeared on Broadway.

Wakeem Jones and De'Lon Grant Photo credit: Nile Hawver/Nile Scott Shots
Wakeem Jones and De’Lon Grant
Photo credit: Nile Hawver/Nile Scott Shots

The SpeakEasy Stage’s production is as good a one as you will see. Staging a musical such as this that deals with a true story that is sure to make an audience very uncomfortable has to be difficult; however, everything about Paul Daigneault’s direction is excellent. The sets, the music, the lighting. And that is just what can make this awkward for the audience. A lively musical with many one liners that stings.

Kander and Ebb set this as a minstrel show with some of the roles reversed. You will see such mainstay minstrel characters as Mr. Tambo and Mr. Bones, only in this case they are black men playing grotesque and exaggerated depictions of white characters. Makes you see things from a bit different perspective to say the least.

At no time during the play do you lose sight of the tragic injustice that is taking place.

Yes, this is a musical, and a lively one too with many great tunes and lively dance numbers. This can also lead to much discomfit. I asked some of the cast members after the show if different audiences react in different ways (at the performance I attended most applauded after each number, though I felt it inappropriate to do so.). They told me that some remain silent until the end and applaud when the play is over. At other times they can feel a hesitation before getting a response. This all makes sense in a show such as this where the music is very good and the performers excellent. However, you don’t exactly want to walk out of the theatre humming Electric Chair or Minstrel March. At no time during the play do you lose sight of the tragic injustice that is taking place, and that took place not very far in our past. The solid cast never allows that to happen. All the players are deeply vested in their characters and it shows.

Darrell Morris Jr. and Isaiah Reynolds (Photo Credit:Nile Hawver/Nile Scott Shots)
Darrell Morris Jr. and Isaiah Reynolds (Photo Credit:Nile Hawver/Nile Scott Shots)

Don’t let any of this dissuade you from seeing this fine cast perform on the stage of the Calderwood Pavillon. As usual, the SpeakEasy has assembled a very talented cast that does not disappoint. This is a rare opportunity to see Kander and Ebb’s final work, and we are lucky to have the SpeakEasy that does not shy away from such productions.

Due to popular demand, performances have been extended through November 26.

speakeasystage.com
617.933.8600 At The Calderwood Pavillon, 527 Tremont Street, Boston’s South End

NEW REPERTORY THEATRE PRESENTS FIDDLER ON THE ROOF

directed by Austin Pendleton

Charles Mosesian Theater at the Arsenal Center for the Arts

Watertown, MA

DECEMBER 2-24, 2016

1617_websliders_03-fiddlerNew Repertory Theatre presents Fiddler on the Roof, December 2-24, 2016 in the Charles Mosesian Theater at the Arsenal Center for the Arts, 321 Arsenal Street, Watertown, MA.

“Fiddler on the Roof has a much deserved place in the history of musical theatre,” says Artistic Director Jim Petosa. “It was first produced at a time when ideas of tradition and cultural identity were in an upheaval. It became a response to the transition that was happening in American culture and continues to resonate today as it examines the traditions of life, communities, and family.”

“We’re thrilled to welcome back to our stage so many New Rep favorites in our much- anticipated production of Fiddler on the Roof,” says Managing Director Harriet Sheets. “We’d also like to welcome back Austin Pendleton. While this is his first time directing for us, he is no stranger to our stage having appeared in Quills, Waiting for Godot, and King Lear. His play, Orson’s Shadow, also received its Boston-area premiere during our 2006-2007 season to resounding critical praise, and in 2015 we were honored to present him with New Rep’s Award for Lifetime Artistic Achievement at our annual Gala.”

Jeremiah Kissel
Jeremiah Kissel

A spirited revival of the beloved musical, Fiddler on the Roof features Jeremiah Kissel (Broken Glass, The King of Second Avenue, Imagining Madoff) as Tevye, leading a cast of Boston-area favorites in this Tony Award-winning play. Rendered with striking intimacy and simplicity by Tony-nominated director Austin Pendleton, who originated the role of Motel the Tailor on Broadway, this energetic production puts the classic story’s fierce heart at the center of the audience experience with its timeless warmth, humor, and honesty.

Telephone: 617-923-8487, Online: newrep.org

Theatre to Die For

Murder For Two

At The Lyric Stage, Boston

Jared Troilo, Kirsten Salpini. Photo by Mark S. Howard
Jared Troilo, Kirsten Salpini. Photo by Mark S. Howard

Two actors playing thirteen characters while singing, dancing, and playing the piano. Sounds a bit complicated. That’s what I thought as Murder For Two began Sunday afternoon. How would I ever be able to keep track of all that was going on? Well, when the two actors are Jared Troilo and Kirsten Salpini it is not a problem. Add in the fine direction of A. Nora Long and a very funny and fast moving script and music by Joe Kinosian and Kellen Blair, and you can just sit back, relax, and enjoy a great time at the theater.

The story is set at the home of the great American novelist Arthur Whitney where his wife has arranged a surprise birthday party for him.

A little song, a little dance, a little murder, what could be more enjoyable?

Unfortunately for poor Arthur, he runs into a bullet before he is able to open his presents. This is where police officer Marcus Moscowitz (Jared Troilo) comes on the scene. Moscowitz is mistaken for a detective, a confusion he does nothing to dissuade the suspects from believing. Marcus sees cracking this case as his ticket to a promotion, as long as he can do it before his superior officer gets there. He is going to go strictly by Protocol, which also happens to be the name of his first musical number.

Ms Salpini is funny, creative, and a joy to watch.

He begins interviewing the suspects, all of whom are played by Kirsten Salpini. She also plays the members of a boy’s chorus who have been hired to provide entertainment for the party. They are a mischievous lot and very funny. Ms Salpini switches roles from moment to moment without the aid of costume changes. She manages this, and very well I might add, by changing her voice and accent along with some very creative body language. I have seen some impressive performances where one actor plays multiple roles solely by changing voice and movement, most notably Chaz Palminteri in A Bronx Tale and John Douglas Thompson in Satchmo At The Waldorf , and while Kirsten Salpini does not rise to their level, she is certainly a contender and does a fine job in her many roles. Ms Salpini is funny, creative, and a joy to watch. Her singing is the icing on the cake.

Jared Troilo as pseudo Detective Moscowitz is right at home in his role as the nervous cop trying to solve the big crime. His singing and dancing is a reminder of how much fun theatre can be, even if it’s about a murder. While the part was not written for him he performs it like it was.

Jared Troilo, Kirsten Salpini. Photo by Mark S. Howard
Jared Troilo, Kirsten Salpini. Photo by Mark S. Howard

Finding two actors who can sing, dance, and also play the piano had to be a challenge for director Long. Finding two with these talents who could also work so well together had to be almost impossible, but with Jared and Kirsten she found a theatre match made in Heaven.

I will not spoil the fun by letting on more about the details of the play, only to say that there was also another crime committed during the party, and those of you with a sweet tooth may consider that one the more serious.

Murder For Two is a great way to take some time out during this busy time of the year to enjoy a very funny and fun play. A little song, a little dance, a little murder, what could be more enjoyable?

Murder For Two Through December 24th

The Lyric Stage, 140 Clarendon Street, Boston

(617) 585-5678 http://www.lyricstage.com

 

 

 

 

SPEAKEASY STAGE TO BRING BACK “THE SCOTTSBORO BOYS” DEC. 30 – JAN. 22

Wakeem Jones and De'Lon Grant Photo credit: Nile Hawver/Nile Scott Shots
Wakeem Jones and De’Lon Grant
Photo credit: Nile Hawver/Nile Scott Shots

Due to unprecedented demand, SpeakEasy Stage will remount its acclaimed production of THE SCOTTSBORO BOYS for four additional weeks, December 30, 2016 – January 22, 2017.The entire original cast will return to the production, which has been hailed as “a powerful and vivid reminder of racial injustice both past and present.” Tickets for the added performances are now on sale.

“I am thrilled to have another opportunity to share THE SCOTTSBORO BOYS with Boston audiences,” said SpeakEasy Founder and Producing Artistic Director Paul Daigneault. “Rarely have I been more proud of a production, and rarely has a show seemed as timely and important as this one.”

Featuring music and lyrics by Broadway legends John Kander and Fred Ebb, and a book by David Thompson, THE SCOTTSBORO BOYS brings to light the shocking true story of nine African American teenagers jailed in Alabama in 1931 for a crime they did not commit. With an exhilarating and infectious score that mixes gospel, jazz, and vaudeville, the show flips the script on the classic minstrel construct to lay bare the fateful case that inspired the American civil rights movement. Nominated for 12 Tony Awards during it initial Broadway engagement, THE SCOTTSBORO BOYS is also notable as the final collaboration between Kander and Ebb, whose works include such musical theatre classics as Cabaret, Chicago, and Kiss of the Spider Woman.

The entire original cast will be back for these additional performances. They are:   Darren Bunch,Shalaye Camillo, Taavon Gamble, Russell Garrett, De’Lon Grant, Brandon G. Green,Sheldon Henry, Wakeem Jones, Steven Martin, Darrell Morris, Jr., Maurice Emmanuel Parent, Aaron Michael Ray, and Isaiah Reynolds.Ticket prices start at $25, with discounts for students, seniors, and persons age 25 and under.

The second installment of THE SCOTTSBORO BOYS will run for four weeks, December 30, 2016 through January 22, 2017, in the Roberts Studio Theatre in the Stanford Calderwood Pavilion at the Boston Center for the Arts, 527 Tremont Street in Boston’s South End.

For tickets or more information, the public is invited to call the box office at 617.933.8600 or visit www.SpeakEasyStage.com 

Ezzard Charles, A Gentle Terror

Ezzard Charles; A Boxing Life
By William Dettloff
Published by McFarland, 232 pages $35.00
www.mcfarlandpub.com

Reviewed by Bobby Franklin

imagesEzzard Charles was not someone you would look at and think of as vicious fighting machine. He looked more like a member of Duke Ellington’s jazz band. He was also very mild mannered with a gentle air about him. As a kid in Lawrenceville, Georgia and later in Cincinnati, Ohio he was friendly but quiet. He did always love boxing and dreamed of one day becoming a world champion.

In 1949, after an amateur career and almost ten years of fighting pro he attained his dream by beating Jersey Joe Walcott for the title Joe Louis had vacated. Unfortunately for Charles he had two things against him. He was stepping into the shadow of the beloved Louis, and he did not possess the exciting and dramatic style of the Brown Bomber. The public just did not take to him. It’s not like Charles hadn’t earned respect. He had fought and beaten a number of the Black Murder’s Row fighters. He had two wins over the very great Charley Burley as well as a decision win and a knockout over Archie Moore.

It has often been said that Charles is the most underrated of all heavyweight champions.

While Charles may have looked more like a piano teacher out of the ring, when the bell rang he was a brutal competitor. As I was reading William Dettloff’s excellent biography of Charles I couldn’t help thinking that Ezzard had to have a lot of anger in him that he could only express in the prize ring. He could also be erratic in his performances, sometimes not looking motivated enough to win convincingly. Charles would be a ripe candidate  for some psychoanalysis, and in fact, before his rematch with Rocky Marciano the press, in an effort to drum up interest in the fight had a psychiatrist visit the camps of both fighters. The doctor described Charles as “A dreamer type…who loses the spontaneity in his dreams” because of his many “inhibitions”. Interesting insight even if it was just hype to sell tickets.

Mr. Dettloff has done exhaustive research on the life and fighting career of Ezzard Charles. He takes us to the tragic night in 1948 when Charles fought Sam Baroudi. Baroudi would be carried from the ring and die the next day. Ezzard was devastated by this tragedy, but just three months later would step back into that same ring and knock out the very formidable Elmer “Violent” Ray. In fact, he would fight four more times in 1948 including a win over Jimmy Bivins.

Louis vs Charles
Louis vs Charles

Charles would continue winning and fighting often, finally landing a fight with Jersey Joe Walcott for the vacant heavyweight crown. Beating Walcott may have made him champion, but he still had to live in the shadow of Joe Louis. He defended the title numerous times and even went on to defeat his idol Louis in a brutal fifteen round affair that should have removed all doubt to his legitimacy as champion. It did not. The problem was, as Dettloff points out, Ezzard Charles was not Joe Louis.

This lack of public support may have had something to do with his not always being to motivate himself. Another reason was his fighting so often and against such tough competition. Ezzard rarely got an easy opponent. In fact, in reading this biography we are treated to a history of the light heavyweight and heavyweight divsions in the 1940s and 50s. Mr. Dettloff gives brief but very interesting biographies of many of Charles’s opponents; Archie Moore, Walcott, Bivins, Harold Johnson, Bob Satterfield, and many others. This all makes for a very interesting book.

Dettloff also introduces us to many of the characters who occupied the world of boxing during that era. One of the most quotable was Charles’s manager (he had many) Jake Mintz. Mintz could twist the English language in amazing ways. For example, when recounting surgery he had to repair a hernia he said “They thought I had some golf stones there so they took an autograph of my heart and said, ‘One of your ulsters is worn out’. William Shakespeare would be envious.

There are also other interesting facts related here. It turns out a young Charles while serving in the military fought a three round exhibition with Joe Louis. Also, while training for his bout against Bob Satterfield the Charles people brought in a crude young heavyweight by the name of Sonny Liston to be a sparring partner. Liston was not up to the task at that point in his career.

After Charles lost the title to Walcott, and a rematch with Jersey Joe, it looked like his hopes of ever regaining the title were over. He began campaigning for another shot at the title but lost back to back matches against Nino Valdez and Harold Johnson. Charles was getting tired and old, but he did come back to life with wins over Satterfield and Coley Wallace. It was enough to earn him a shot at the new and exciting young champion Rocky Marciano.

Dettloff writes about this fight in detail. He discusses Charles’s training and strategy for the fight, a strategy that at first glance may have sounded foolish but made sense. Ezzard went into the Marciano bout motivated to win but came up short. He did earned the distinction of being the only man to take the Rock the full 15 rounds and came closer than any fighter to taking the title from him, though the decision was clearly in Marciano’s favor.

Charles would get a rematch based on this performance, and even though he severely cut Rocky’s nose, he just did not have anything left. Though he would continue to fight on for another four years it was all downhill from there. He would end up broke, take up professional wrestling, and struggle to make ends meet. His final years were spent suffering from Lou Gehrigs Disease. A very tragic end for such a great fighter.

William Dettloff has written a fine biography of a great champion, and one that Ezzard Charles deserves. Boxing fans should take the time to read this very interesting book and learn about this man who deserves to be remembered. It has often been said that Charles is the most underrated of all heavyweight champions. Mr. Dettloff has down a terrific job in changing that history.

Seaglass Chorale Presents A Celtic Christmas

A Celtic Christmas In Kennebunkport and Sanford, Maine

December 3rd and 4th
celtic-christmas-poster-2016Seaglass Chorale is excited to announce that its 2016 winter concert will be A Celtic Christmas, featuring Regina Delaney on Irish harp and Ryan J. Thomson and his son Brennish on fiddle. The concert will include a celebration of the Winter Solstice, seen as a most significant time of year in Celtic culture.

There will be two performances of this concert, the first as part of Kennebunkport’s Christmas Prelude on December 3rd and the second at North Parish Church in Sanford the afternoon of December 4th.
Saturday, Dec 3, 7:00 pm
South Congregational Church, 2 North Street, Kennebunkport, Maine
Sunday, Dec 4, 2:30 pm
North Parish Congregational Church, 895 Main Street, Sanford, Maine

Artistic Director Jean Strazdes
Artistic Director Jean Strazdes

Founded in 1993 by Artistic Director Jean Strazdes, the Seaglass Chorale is a non-auditioned adult choral group of 50-60 voices that has established itself as a voice to be heard! The chorale represents some 20 southern Maine communities and regularly performs throughout the area, with concerts in Kennebunk, Kennebunkport, Wells, Sanford, Saco, and other regional venues. We are well supported by our longtime accompanist, Kimberly Karchenes.
Internationally acclaimed, Seaglass Chorale has traveled to Europe twice, performing in Rome, Venice, Innsbruck, and Budapest.

 

In September of 2004, choristers proudly led the musical prelude at the National Cathedral in Washington, DC. In March of 2016 the works of Norwegian composer Ola Gjeilo were performed in Merrill Auditorium, Portland, Maine while Maine coastal photographs by renowned photographer Peter Ralson of Rockport, Maine were shown. Some members of the chorale sang in the Hunchback of Notre Dame chorale this past summer at the Ogunquit Playhouse. During summer of 2017 the chorale has been invited to perform in Ireland as part of a prestigious music festival.

 

This Celtic Christmas concert features Celtic music including Gaelic sung by the chorale as well as Celtic Harp, Celtic fiddlers, flute, piano & other instruments. There will be an audience sing a long of more traditional holiday carols toward the end of the concert.

 

Ticket Information
Ticket prices are $15 for adults and $12 for children and seniors.
Reserve your tickets by contacting us at 207-985-8747 or seaglass [at] gwi [dot] net.
Tickets can also be purchased at Morse Hardware in Wells or through a Chorale member.

Raise A Glass And Sip A Drop Of Schnapps To This Fiddler

Fiddler On The Roof

New Rep Theatre Watertown

Through January 1

Reviewed by Bobby Franklin

Jeremiah Kissel as Tevye
Jeremiah Kissel as Tevye

The current run of Fiddler On The Roof at the New Rep Theatre was extended even before it opened. Audiences had high expectations for this production which is being directed by Austin Pendleton. So, did Mr. Pendleton and company meet expectations? The answer is a resounding yes. They met and exceeded them.

This version is a joy to see in the intimate setting of the New Rep Theater. From the opening number, Tradition, it is abundantly clear Jeremiah Kissel is more than up for the role of Tevye. While Mr. Kissel may not have the vocal range for all of the numbers, he does have something more important; Kissel’s voice is warm and full of the decency and kindness that is embodied in Tevye.

Kissel’s voice is warm and full of the decency and kindness that is embodied in Tevye.

Watching and listening to him as he sees life around him changing more rapidly than he can keep up with, and as he struggles with his adherence to traditions while also wanting the best for his daughters brings smiles and tears to the eye. Teyve is a man struggling with many things but who remains optimistic and humorous. His ongoing conversations with God reflect this. Jeremiah Kissel captures all of this.

Make no mistake, this is not a one man show. Director Pendleton has assembled a large and very strong cast for this production. Amelia Broome as Tevye’s wife Golde is perfect opposite Mr. Kissel. Listening to them sing together in Sunrise, Sunset and Do You Love Me? is a joy. Their voices convey a warmth and love that will melt the coldest of hearts.

Abby Goldfarb, Sarah Oakes, Victoria Britt
Abby Goldfarb, Sarah Oakes, Victoria Britt

Abby Goldfarb is radiant on the stage as Tzeitel, the first of Tevye’s daughters to rebel against tradition by pledging her love to Motel the tailor. Motel is played by Patrick Varner in an understated fashion that we soon realize encompasses the full range of growth his timid character experiences as he turns into a strong and confident husband. Varner is damn good in doing this. He is a joy when performing Miracle of Miracles.

When Joseph Stein and Jerry Bock first wrote Fiddler they must have had Bobbie Steinbach in mind for the role of Yenta. She takes over the stage as the busy body matchmaker who is seeing the breaks from tradition affecting her business. Just watching her walk on and off the stage is a pleasure.

Abby Goldfarb is radiant on the stage as Tzeitel.

Mr. Pendleton has the Fiddler, played by Dashiell Evett, remain on stage throughout most of the play. His silent presence can be interpreted as, perhaps, a witness to what is happening, or maybe as representing the traditions that are passing. At one point Tevye, while struggling with the decision to disown his daughter Chava (VIctoria Britt) because she has chosen to marry out of the faith, reaches over and joins hands with the Fiddler. It is a poignant moment as we feel the pain of this kind man forced into a terribly difficult position.

Dashiell Even, Amelia Broome, Bobbi Steinbach
Dashiell Even, Amelia Broome, Bobbi Steinbach

The choreography by Kelli Edwards does not disappoint. At first I thought it was going to be very toned down when the dance in To Life did not live up to my boyhood memories of seeing it performed by the Broadway touring company in the 60s. However, the bottle dance during the wedding scene was superb and had the audience clapping along as if they were participants. It is outstanding.

This is a production not to be missed. I would imagine tickets will be selling rapidly, so I would suggest you get yours soon. After seeing it I can guarantee you will leave the theater shouting L’chaim!

Photo credits: Andrew Brilliant / Brilliant Pictures

Fiddler On The Roof

Now though January 1st
New Rep Theatre
321 Arsenal Street, Watertown 617.923.8487
enwrap.org

“Hand to God” Opens At SpeakEasy

From January 6 to February 4, 2017, SpeakEasy Stage Company will proudly present the New England Premiere of HAND TO GOD, the devilishly smart new comedy about good and evil, sex and sin, written by Robert Askins.

h2g-psdDescribed as “Sesame Street meets The Exorcist” by the New Yorker, HAND TO GOD tells the story of an awkward Texas teen named Jason, who spends his afternoons at his local church, practicing for the Christian Puppet Ministry run by his widowed mother. All hell literally breaks loose, however, when Jason’s puppet Tyrone takes on a shocking and dangerously irreverent personality all its own. Nominated for five Tony Awards including Best Play, HAND TO GOD explores the startlingly fragile nature of faith, morality, and the ties that bind.

Like the young protagonist in his play, HAND TO GOD playwright Robert Askins grew up in a small Texas town, lost his dad at a relatively young age, and even participated in the Christian Puppet Ministry which his mother ran at the local Lutheran church. He didn’t start writing plays until he got to Baylor University, which is where he met playwrights Romulus Linney and Horton Foote. These celebrated writers encouraged Mr. Askins and provided a connection to New York’s Ensemble StudioTheatre, which is where, in 2011, HAND TO GOD had its premiere. In addition to his Tony nomination for HAND TO GOD, Mr. Askins has received two EST/Sloan grants, the Helen Merrill Emerging Playwrights Award, and an Arch and Bruce Davis Award for Playwriting. His most recent play Permission, had its world Premiere Off-Broadway in spring 2015 at MCC Theater.

Norton Award-winner David R. Gammons will direct HAND TO GOD for SpeakEasy. Mr. Gammons’ other SpeakEasy credits include Necessary Monsters, The Whale, The Motherf**ker with the Hat (2013 Elliot Norton Awards for Outstanding Production and Outstanding Actress), Red (2012 Elliot Norton Awards for Outstanding Production and Outstanding Actor), and Blackbird.  His work as a director and designer has been featured at American Repertory Theatre, Huntington Theatre Company, New Repertory Theatre, Actors’ Shakespeare Project, and Boston Playwrights’ Theatre, among others

The cast for this New England Premiere production is Marianna Bassham, Josephine Elwood, Eliott Purcell, Dario Sanchez, and Lewis D. Wheeler.

The design team is Cristina Todesco (scenic); Gail Astrid Buckley (costumes); Jeff Adelberg (lighting); and Andrew Duncan Will (sound).

HAND TO GOD will run for five weeks, from January 6 through February 4, 2017 in the VirginiaWimberly Theatre in the Stanford Calderwood Pavilion at the Boston Center for the Arts, 527 Tremont Street in Boston’s South End.

Ticket prices start at $25, with discounts for students, seniors, and persons age 25 and under.
For tickets or more information, the public is invited to call the box office at 617.933.8600 or visit www.SpeakEasyStage.com .

Who’s Afraid Of Virginia Woolf

To Play At the Lyric Stage January 13 Through February 12

Steven Barkhimer and Paula Plum
Steven Barkhimer and Paula Plum

The Lyric Stage has announced the cast for Edward Albee’s classic play Who’s Afraid of Virginia Woolf set to run from January 1st through February 12th.

Directed by Scott Edmiston who’s My Fair Lady at the Lyric was named among “The Best Theatre of 2015” by the Wall Street Journal, the very strong cast will include Steven Barkhimer (Warrior Class) playing George. He will be joined by the award winning Paula Plum who will portray Martha. Erica Spyres (Company) and Dan Whelton (One Man, Two Guvnors) will play Honey and Nick.

The Lyric Stage is located at 140 Clarendon Street, Boston.

For ticket information:

617.585.5678

lyricstage.com

NEW REPERTORY THEATRE PRESENTS
 THURGOOD


 by George Stevens, Jr.
 Directed by Benny Sato Ambush, and featuring Johnny Lee Davenport


JANUARY 7-FEBRUARY 5, 2017


New Repertory Theatre presents Thurgood, January 7-February 5, 2017 in the Black Box Theater at the Mosesian Center for the Arts, 321 Arsenal Street, Watertown, MA.
“There is no mistaking the powerful and lasting legacy that Justice Thurgood Marshall had on the judicial system in the United States,” says Artistic Director Jim Petosa. “Arguing landmark cases such as Brown v. Board of Education deservedly brought him the national attention that eventually propelled him to the nation’s highest court. His story is one of determination and perseverance, so we’re pleased to present this play as we begin our new Prophetic Portraits Series this winter.”
“Thurgood Marshall is the Civil Rights Movement’s unsung hero,” says actor Johnny Lee Davenport. “His nomination to the Supreme Court literally changed America. Looking to the future sometimes means revisiting the past. By doing this play, I hope to remind, maybe even forewarn people that the politics of our country and the laws governing our nation, based on the Constitution of the United States, apply to, and protect all Americans. Not just the rich, not just the privileged, and certainly not just the interests of certain individuals. Thurgood gives us hope and the assurance that one man can make a difference!”
Featuring Johnny Lee Davenport (The Whipping Man) as Justice Thurgood Marshall, the first African-American to sit on the Supreme Court, Thurgood spans Marshall’s impressive career as a lawyer, arguing such landmark cases as Brown v. Board of Education. Presented during the final month of the Obama administration, Thurgood is a tribute to Marshall’s enduring legacy.Johnny Lee Davenport* (Thurgood Marshall) returns to New Repertory Theatre after performing in The Whipping Man and A House with No Walls. Other area credits include The Unbleached American (Stoneham Theatre); It’s A Wonderful Life: A Radio Play (Wheelock Family Theatre); Water by the Spoonful and Broke-ology/Elliot Norton Award, Best Actor (The Lyric Stage Company); Driving Miss Daisy and Master Harold…and the Boys (Gloucester Stage Company); and Invisible Man/Helen Hayes Award, Best Ensemble (Studio Theatre Washington, D.C. and The Huntington Theatre Company). Mr. Davenport has played more than 50 roles in 24 of Shakespeare’s plays including Richard III (Commonwealth Shakespeare Company); Pericles (Actors’ Shakespeare Project); and Richard II (Shakespeare & Company). Film credits include Ted, The Fugitive, U.S. Marshals, and Ascendants. He was named Best Actor in Boston Magazine (2011).
Tickets are $19-$42 and may be purchased by calling the New Rep Box Office at 617-923-8487 or visiting newrep.org.

Jack Sharkey vs Joe Louis

The Gob Showed Brilliance
In His One Sided Defeat

by Bobby Franklin

“Fear is looking across the ring at Joe Louis and knowing he wants to go home early.”

Sharkey and Louis Weigh In

The works of great artists show us something new no matter how many times we view them. I have yet to walk away from viewing or reading a play by William Shakespeare without seeing something in it I had not seen before. That is sometimes true because of the way it is directed or performed, but I have the same experience when I read his works. Great art is always open to interpretation. It also effects different people differently, and even can have a different effect on the same person each time he views it.

Often times there are subtleties we miss during a previous experience. Many times I have noticed something in a movie I had missed before even if I have seen the film multiple times. I have watched The Third Man at least two dozen times and I still find new things in it.

Over the past few years I have enjoyed revisiting fights from the past. I have found it interesting how many times I have been surprised at how different a fight was from my memory of it from either having seen it when it occurred or having watched it many years ago and seeing it again for the first time after all those years. The first Louis vs Conn fight and the Ali vs Foreman fight are two that I have written about that turned out to be very different from what my memory told me. In the case of the Louis Conn bout, there seems to be a collective memory that has grown into a legend about that match that is really quite different from what actually occurred that night.

Sharkey In Defensive Mode

There is something else I have learned from reviewing these fights from boxing’s great past. It is possible to learn a lot from watching a great fighter at the end of his career even in a one sided defeat. I recently watched the Joe Louis vs Jack Sharkey bout and found it very interesting. The match lasted only seven minutes and was a one sided win for the Brown Bomber, but Sharkey was very interesting to watch as he fought the last fight of his career.

The bout took place on August 18, 1936 at Yankee Stadium. Just two months earlier Louis had suffered his first career loss, a knock out at the hands of Max Schmeling. Close to 30,000 fans showed up to see if the loss had a lasting effect on Joe.

Jack Sharkey, also known as the Boston Gob, and his manager, Johnny Buckley, had talked their way into the fight with Louis and even managed to get a guarantee of 25% of the gate. It looked like a good final payday for the ex champ. Unless Louis had been completely demoralized by Schmeling, it didn’t appear Sharkey would have any chance of beating him.

Sharkey had lost the title to Primo Carnera in 1933. After that, Jack had six fights leading up to the Louis fight. He only won two of them with three losses and a draw. Given his record it would appear he would be a perfect comeback opponent for Louis, and maybe that is why they were agreeable to giving him such a good payday. He still had the cache of being a former Heavyweight Champion of the World.

When the opening bell rang it didn’t take long to see that Joe was not at all gun shy. The loss to Schmeling had not hurt his confidence. If anything, it had only made him more determined and focused.

Jack came out to meet Louis in the first round only to run into a sharp young opponent. Max Baer once said “Fear is looking across the ring at Joe Louis and knowing he wants to go home early.” Well, Sharkey may not have felt that when he stepped into the ring, but he certainly knew that’s what he was dealing with seconds into the bout.

Now here is where my comments about seeing things that have gone unnoticed in previous viewings come into play. Jack Sharkey was definitely an artist in the ring. He was a master boxer who’s biggest fault was his lack of consistency. Given that, he still possessed outstanding talent. At this point in his career he was well over the hill. You can see that in his lack of leg movement. Jack had been light on his feet when younger, but now they looked to be stiff and tired. It is not good being in a race with a young athlete while having two flat tires.

Once the bout got underway Jack had to know he had no chance of beating Louis. But Jack was also a champion and wasn’t going to just quit. So, what could he do? Well, this is where you get to see some amazing moves.

Jack reached down for every trick he knew. He used body feints, arm feints, he rolled with the punches, he tied Louis up when he could. He attempted to counter Louis’s jab, but no longer had the reflexes to be effective.

Louis Drops Sharkey

What you end up seeing when watching this fight is a once great boxer preforming some amazing moves, only they are now being done in slow motion, which makes them easier to see. Nothing worked to save him from being stopped, but they did prevent Jack from suffering a much worse beating.

The treat for students of boxing in watching this seven minute fight is in studying how Sharkey attempts to survive the Louis onslaught. Yes, it is a one sided fight, and Sharkey goes down four times, but in between you get to see a formerly great artist reaching to his palate in an attempt to paint one more masterpiece. He is not able to do it, but he does still show amazing skill. A lot can be learned from watching Jack Sharkey during his final few minutes in the ring.

Max Baer and Barney Ross: Jewish Heroes of Boxing

Jeffrey Sussman, Rowman and Littlefield, 2016. 193 pages with photographs.
Reviewed by Len Abram

Jews were a vital part of the ascendancy of boxing. From 1901 to 1939, according to boxing historian Mike Silver, they produced 29 world champions, about 16% of the total. Why did Jews enter boxing in such numbers? Why would sweatshop workers spend a $1 to see a match when they earned perhaps $5 a week?

Jeffrey Sussman’s answers these questions by focusing on two Jewish world champions, Max Baer and Barney Ross. Others have written at greater length about Baer and Ross, their careers and lives. Sussman, however, focuses on the significance of their popularity. Part American history and part family nostalgia, Sussman’s book deals with what Jews did for boxing and what boxing did for Jews.

The two fighters didn’t begin from scratch. They had predecessors, who fought before them and made their achievements if not possible, at least more likely. The great lightweight Benny Leonard, oft quoted for calling boxing a game of chess more than brawn, and Abe Attell , “the Little Hebrew,” were both early Jewish champions. Leonard won the Lightweight championship at age 21 in 1917 and defended it seven times. His success, Sussman says, undermined anti-Semitic stereotypes.    Attell was Featherweight champion from 1906 to 1912, with a reputation of being afraid of no one.

Baer and Ross were unalike in many ways. Baer, of course, was a heavyweight and Ross a world champion in three lighter divisions. Beryl Rosofsky (Barney Ross) came from the Jewish ghetto in New York City, his parents Orthodox Jews, his father a Talmudic scholar. The neighborhood was dangerous; Ross’s father was killed in a robbery. Max Baer grew up in rural California, a farm, his mother a Gentile, and his father a non-practicing Jew. Both fighters wore the star of David on their trunks, but for Baer, it may have been to promote his bout with the German Schmeling, a favorite of the Nazis. Regardless, Baer wore the Jewish symbol for the rest of his career. Like Ross, he accepted his role to represent Jews.

Their boxing styles were also different. Baer was a big heavyweight, over six feet and 220 pounds, whose right hand punch was so powerful that he won over 50 fights by knockout. He was also famous for not training hard, a handsome man, who later became a movie star, more involved in gossipy romances, than in hours at the gym. He relied on that powerful punch to stay competitive. Ross was of medium height, no more than 147 pounds as a welterweight. He was the superior athlete, who trained hard, winning championships in three different divisions. Rather than a slugger, Ross was a “scientific” fighter, following the Benny Leonard model, boxing as a chess game.

Ross was a “scientific” fighter, following the Benny Leonard model, boxing as a chess game.

In the 1920s and 1930s, Jews faced rising anti-Semitism, both here and abroad. Here, Father Charles Coughlin spoke to millions on the radio about Jewish bankers controlling our country. Industrialist Henry Ford, whom Hitler admired, published that a Jewish conspiracy was out to control the world. National hero Charles Lindbergh accused the Jews of pushing America into war with Germany.

When Max Baer stepped into the ring in 1933 to fight Hitler’s favorite boxer, Max Schmeling, the star of David on Baer’s trunks proclaimed that the Jews had a champion. Victorious, Baer became the first Jewish heavyweight champion. Ross’s famous bout with Jimmy McLarnin in 1935 had a similar appeal for Jewish fans: McLarnin was called the “Hebrew Scourge” because he defeated so many Jewish boxers. Ross won the decision. Although neither Schmeling nor McLarnin were anti-Semites, they were painted by social conflicts of the time.

Jews in boxing became “symbols of courage and defiance in age rife with anti-Semitism,” Sussman concludes.

After Baer and Ross retired, Baer went to Hollywood to make movies, one of which was banned in Germany because Baer was Jewish or defeated Shmeling, no one is sure. When World War II began, Baer joined the Army. When war broke out, Ross at age 32 (and plagued with gambling debts) joined the Marines and volunteered for combat.

On Guadalcanal, Ross was badly wounded, yet saved what was left of his platoon against many Japanese attackers. He won the Silver Star, but the narcotics he received for his wounds lead to life-altering addiction.   At the infamous rock bottom addicts often face, Ross put himself into drug treatment. Successful, he later he lectured to youngsters about the dangers of drugs. Ross was a strong supporter of the state of Israel. The star of David, like the one on his trunks, is on the stone marker of his grave.

The sport of boxing is in decline, Sussman admits, certainly far from its golden era. He notes that mob influence tainted the sport, along with exploitive managers and promoters, indifferent to the wellbeing of the boxer. The threat to a boxer’s health from brain damage, pugilistic dementia, also hastened the decline. Today, the professions and trades have more to offer young people than the ring. The sport appears to be more popular in films than in arenas.

Yet, for a time, Jews found champions in boxing to defend and to affirm them until acceptance as valued members, to share and to shape American life.

(This review first appeared in the Jewish Advocate.)

 

 

Don’t Bring The Kids To This Puppet Show

Hand To God
SpeakEasy Stage
Calderwood Pavilion, Boston
Through February 4th

Reviewed by Bobby Franklin

Waiting for the curtain to rise for Hand To God I was listening to the usual pre theatre check list regarding shutting off cell phones and noting the exits. The speech was given in what “enlightened” people in the cities believe is a rural accent, with references to Jesus. I thought, oh here we go, another play that takes plenty of cheap shots at the “uneducated” working class that is motivated by a multitude of “isms” when they vote. You know, those hayseeds who cling to their guns and Bibles.

Tyrone Attacks Timothy
Photo: Glenn Perry Photography

My fears were not realized. While I could see that many believers would be offended by much of the humor in the play, it wasn’t gratuitous. This is a very dark and disturbing comedy that looks into the lives of five characters who are struggling to find answers and meaning in their lives. Primarily, Margery (Marianna Bassham), who has recently lost her husband, and her son Jason (Eliot Purcell) who is struggling with the loss of his father.

Eliot Purcell as Jason/Tyrone is superb.

Margery runs a Christian puppet theatre at the local church and Jason is one of the puppeteers. Things start to go off the rails when Tyrone, the sock puppet Jason manipulates starts to take on a life off his own. Tyrone does not mince words. He is vulgar, vicious, violent, blunt, and truthful. It appears to the other members of the church, as well as the audience, that demonic possession may be at play here. And that is what is at the core of this very funny and unsettling play; Should we listen to that dark side when it speaks to us? Though we say we want to hear the truth, do we often feel so uncomfortable with it that we write it off as something the devil has created?

Eliot Purcell as Jason/Tyrone is superb. In what must be a very difficult role that involves many scenes where he has to play opposite his hand, he nails it.

Marianna Bassham as Margery and David Ladani Sanchez as the unruly teen Timothy are hysterical in the scene where they lust after each other while tearing up the puppet theater. Bassham is also touching in conveying the hurt and loss Margery is suffering.

Tyrone, Jason, Pastor Greg.
Photo Credit: Glenn Perry Photography

Lewis D. Wheeler as Pastor Greg and Josephine Elwood as Jessica are also well cast.

Ironically, as the play concludes the author, Robert Askins, found the need to become a bit preachy himself. This was not needed and actually seemed to be a bit hypocritical.

This play is not for everyone. The language is quite vulgar and the fun made of “uneducated”believers who eat at Chick-fil-a, while not over the top, will offend many.

It would be interesting to attend a performance with a group of devout Christians and then have a talk back afterwards. The results of that conversation may be surprising. And, after all, isn’t theatre about getting people to think about things and then listen to each other’s views? I think it would be fun.

Boxing Is Dead. May It Rest In Peace

My New Year’s Resolution

by Bobby Franklin
It’s the New Year and a time for resolutions. I don’t usually make any as, like rules, they are only made to be broken. However, this year I think I am going to resolve to give up something.

Most of my columns are about fights and boxers from the past. I also try to shed light on the issue of brain injuries that result from a person’s time in the ring (This issue also crosses over into football and other contact sports). On occasion I will write about a current boxing match, but that is rarely done in a positive tone.

Boxing has not been killed by outside forces. It has committed suicide.

A little over a year ago I watched the worst heavyweight title fight in history, the one between Tyson Fury and Wladimir Klitschko. These two proved themselves to be the absolute worst heavyweights in the history of boxing. I wrote about that fight at the time, but looking back I can say that was the day boxing finally died. Oh, it had been suffering a long and painful death for many years, but that spectacle was an absolute disgrace.

After that, I did keep watching boxing. It has been sad looking at just how far this sport has come from what was once known as The Manly Art of Self Defense.

About a week ago former champion Bernard Hopkins took on Joe Smith, Jr for some version of the light heavyweight championship. There are so many different versions and so many different weight classes today that it is impossible to identify any boxer as a true world champion.

The 27 year old Smith came into the ring with what looked on paper to be an impressive record of 22 wins in 23 fights with 18 knock outs. Hopkins at age 51 was once a very good fighter who’s best days should be long past him. Yet, Hopkins still manages to be competitive. In this fight he was stopped after being knocked out of the ring, but until the time of the stoppage he was giving Smith all he could handle.

Now Hopkins is in good shape for a 51 year old man. He takes good care of himself and is quite fit. But he is no Superman. Time has never been kind to aging champions and Hopkins is no exception. What is exceptional is the utter lack of talent in boxing today that allows a man who should be spending time out on the golf course and with his grandchildren to be a factor in championship circles. Make no mistake about it, the only reason Hopkins is able to still challenge the current competition is because they do not know how to fight. It is plain and simple.

I urge my readers to take time and study the videos of the champions and contenders of the past and make the comparison. There is no way you can objectively view a Jersey Joe Walcott, Sugar Ray Robinson, Joey Maxim, Billy Conn, Archie Moore, and many more former champs in action and not come to the conclusion they would crush today’s collection of paper champions.

Even the contenders from the years gone by, those who never made it to the top would have a field day today. George Benton, Artie Levine, Gaspar Ortega, Holman Williams, and thousands of others would have a field day toying with this crop.

Without teachers the students have no one to learn from.

Boxers today are well conditioned and dedicated. Most of them have plenty of heart and a desire to win. The problem is they have never been taught the art of boxing. They also train like weight lifters so their muscles are tight and they do not move with the fluidity that makes for a talented boxer. I feel sorry for them as they devote so much time to learning how not to be a boxer. There is an old saying, “Practice doesn’t make perfect, practice makes permanent.” The teaching methods used today have given us a sport that does not even remotely resemble the great profession it once was. Without teachers the students have no one to learn from. The television people are happy to have matches where fighters simply hit each other in the head a lot, and the fans don’t know better as they have grown up watching a generation of unskilled participants going at it.

I realize boxing has been pronounced dead almost from the time of Cain and Able’s epic fight, but today it is different. In the past it may have been counted out because of mob involvement, or a death in the ring, or competition from television, or even over exposure on TV. There was always some reason it was said to be over, but today is different. How can you have a sport continue to exist when the participants do not know how to practice it? When there is nobody left to teach it? Boxing has not been killed by outside forces. It has committed suicide.

I have given up my subscriptions to HBO, Showtime, and the other channels that give us travesties such as the Fury Klitchko fight. I have resolved to no longer torture myself by watching something billed as boxing. Boxing went into a coma a number of years ago and has now finally slipped into that dark night.

I have now resolved to stop watching it. It has become too painful. I will continue to follow the parts of it that relate to brain injuries and to write about the progress being made into the the research being done to make all contact sports safer. I will continue to research and write about the rich history of the once great sport. I will not write about a sport that does not exist any longer.

Boxing will not be back. The days when the Heavyweight Champion of the World was one of the most recognized people on the planet are gone, never to return.

Thurgood Is Supreme At The New Rep

Thurgood

New Rep Theater, Watertown
Through February 7th
newrep.org

Reviewed by Bobby Franklin

Johnny Lee Davenport
Photo: Andrew Brilliant/Brilliant Pictures

Last night I got to spend the evening with former Supreme Court Justice Thurgood Marshall. I and a number of other people got to see him in a small theatre in Watertown, MA. He told us about his life, his struggles, his battles. He was funny and touching. We felt the pain and the frustrations he went through as he fought to desegregate the schools and fight to ensure that all of the citizens of the United States were treated equally. We heard him argue before the Supreme Court. We shared in his disappointment when losing a case and his joy when he shared his victories, of which there were many, most notably in Brown v Board of Education.

Justice Marshall passed away in 1991, but he is very much alive in the intimate setting of the Black Box Theatre at the New Rep in Watertown. He is because of the amazing talent of Johnny Lee Davenport.

Davenport’s portrayal of Marshall in Thurgood will be remembered as one of the great performances of the year.

When Mr. Davenport first steps into the theater he is walking with a cane and begins reflecting on this amazing life. We are at Howard University where Marshall learned that a black law student had to learn to be better than good because of the challenges he would face.

Johnny Lee Davenport
Photo: Andrew Brilliant/Brilliant Pictures

While attending Lincoln College, Marshall was classmates with Langston Hughes who taught him that “One man can make a difference.” and early on the future Supreme Court Justice vowed he was not going to go through life being humiliated because of the color of his skin.

Johnny Lee Davenport relates these stories and so many others in this amazing journey with such authenticity that there were times when I almost stood up to ask him, meaning Justice Marshall, a question. Mr. Davenport’s movements about the stage, his pauses, the emotions, the subtleties in voice and step that cue us in on the different periods of Marshall’s life are so smooth and authentic that there was never a moment when I didn’t feel I was actually in the presence of Thurgood Marshall.

The Black Box Theater is small. The stage is set with a leather chair on wheels, a table, coat rack, a briefcase, and a stack of books. On the wall are photos of people and places from Marshall’s life including his first wife Buster. Mr. Davenport reaches under the table at times to bring out a small lectern that he uses while arguing cases. It is the ideal setting for such a production. The audience is part of this play as Mr. Davenport makes continuous eye contact with people.

At one point Marshall asks an audience member to read the 14th Amendment. It is a moving moment as we hear the words that guarantee all Americans, ALL AMERICANS, equal protection under the law.

Johnny Lee Davenport
Photo: Andrew Brilliant/Brilliant Pictures

At another point he reaches into his briefcase and takes out two baby dolls, one black and one white. This was the famous doll test that was conducted by Dr. Kenneth Clark. It is heartbreaking to hear the results of what happened when black children were asked which doll they thought was better and which they would like to be.

Justice Marshall had his flaws as do all humans, but what he accomplished in his life was simply amazing. This man who was born in the same year Jack Johnson became the first Heavyweight Champion, would not rest until this nation abided by the words in the 14th Amendment. He used, in his words, the law as a weapon. It was a weapon he wielded wisely and successfully.

George Stevens, Jr. has put together a wonderful script that never misses a beat. Benny Sato Ambush’s directing is terrific.. They have done an important service in putting together for the stage this amazing story.

I know it is early in the 2017 theatre season, but I can ensure you that Johnny Lee Davenport’s portrayal of Marshall in Thurgood will be remembered as one of the great performances of the year.

A Doll’s House Worthy Of A Visit

A Doll’s House

by Henrik Ibsen

Andrea Syglowski and Sekou Laidlaw
Photo: T. Charles Erickson

Adapted by Bryony Lavery
Directed by Melian Bensussen
At The Huntington Theatre Company
Through February 5th

Reviewed by Bobby Franklin

The other night I saw the Huntington Theatre Company production of A Doll’s House. It was an evening of terrific theatre. The Ibsen classic about marriage, blackmail, unrequited love, and finding one’s self is a timeless work. This version has been updated by Bryony Lavery and the language flows beautifully while the story never skips a beat. The beautiful staging also makes this a visual treat.

…the language flows beautifully while the story never skips a beat.

The fine cast is led by Andrea Syglowski as Nora who plays opposite Sekou Laidlow as her husband Torvald. Mr. Laidlow plays his part subtly at first in the way he treats Nora as a child, but eventually it becomes clear just how demeaning he is to her. Nora is content with her life, as Torvald has received a promotion which means more money and a better life. However, when a secret from Nora’s past arises that threatens to destroy their marriage Nora begins to see things in a different light, though it isn’t untill the final scene that she fully understands what her life is about.

Ms Syglowski is an absolute joy to watch.

This is a first rate production, and Ms Syglowski is an absolute joy to watch. She shows great humor in the first act. Her timing is impeccable, with a full range of emotions. She moves from a wife who is being treated as a plaything by her husband to a woman who realizes she must find out for herself what life truly means.

Sekou Laidlow as Torvald plays his part subtly at first but then we see just how demeaning his treatment of Nora is. The progression works well.

It is an outstanding evening of theatre, one not to be missed.

Nael Nacer as Krogstad, the man who attempts to blackmail Nora does not illicit much sympathy, but Nacer conveys the pain his character is in and it is soon apparent that he is motivated by desperation and not cruelty.

Dr. Rank, the longtime family friend of the Helmer’s reveals he is dying. It is also revealed that he has been in love with Nora for years. Jeremy Webb does a fine job of portraying this unhappy man who always has a smile on his face.

Elise Rose Walker, Marinda Anderson, Gavin Daniel Walker, and Adrianne KrstanskyPhoto: T. Charles Erickson

And then there is Christine Linde. Mrs. Linde is played by Marinda Anderson. She and Krogstad were once lovers, and she tells Nora she will try to convince Krogstad to take back a letter he has left for Torvald that exposes Nora’s secret. In his joy at being back with Christine he agrees.  However, it is Christine who is able to see everything in perspective and decides to let things play out for the Helmers. She tells Krogsatd to leave the letter. Ms Anderson plays the part as much with her expressions as with her words, and she does it well.

Andrea Syglowski’s Nora will be remembered.

The final scene where Torvald reads the letter and explodes at Nora is just incredible. He tells her their marriage will now be just for show because she has brought shame on them. Then when he reads a second note from Torvald that includes the promissory note and says he is not going to pursue the matter, Torvald suddenly changes and is the happy husband again. At this point Nora fully comprehends that their marriage has always been for show and she lets all of her feelings out. Ms Syglowski is outstanding in this scene in which Nora describes how she has always been treated as a play doll, first by her father

Andrea Syglowski and Sekou Laidlow
Photo: T. Charles Erickson

and then by Torvald. She is not going to live her life that way any longer. It is a very powerful scene and one you will not forget. Andrea Syglowski’s Nora will be remembered.

A Doll’s House has been called a feminist play, but it is a play that should appeal to all people as it shows how often we make compromises and sometimes make bad choices in order for our lives to have order and make sense. However, by doing so we often end  becoming very unhappy. Nora shows us we have choices.

When you leave the theatre after seeing this production of A Doll’s House you will have much to think about, and that is why I like it so much. You wonder what will become of Nora.

Once again, the Huntington has put on an outstanding production of a classic play. It is not to be missed.

http://www.huntingtontheatre.org

A Fresh And Very Intense Virginia Woolf

Who’s Afraid Of Virginia Woolf

At The Lyric Stage
Copley Square, Boston
Through February 12th
Directed by Scott Edmiston
Lyricstage.com

Reviewed by Bobby Franklin

Paula Plum and Steven Barkhimer (Photo: Mark S. Howard)

When I read that Steven Barkhimer, whom I had recently seen in Warrior Class, was being cast as George in Who’s Afraid of Virginia Woolf at the Lyric Stage I had high expectations for him. Mr. Barkhimer was excellent as the political operative in Warrior Class, and I could envision him in the role of George. He did not disappoint me.

The current run at the Lyric includes three other fine actors, Paula Plum (Martha), Erica Spyres (Honey), and Dan Whelton (Nick). With direction by Scott Edmiston we are treated to a fresh look at this classic play. If you are looking for Liz and Richard go to Netflix. The actors on stage here bring their own interpretations to the roles and they do an excellent job of it.

Ms Plum and Mr. Barhimer are a tour de force as George and Martha.

If it has been a while since you have seen Edward Albee’s classic, or if this is your first time, you may be surprised at how many laughs there are in the first act. George’s sarcasm and cutting remarks directed at everyone in the living room where the play is set are quite funny and elicit much laughter. However, as Act II gets underway we find that he is not just drunk and having fun at the expense of his wife and guests, but is seething with self loathing. This loathing is shared by Martha who is also quite witty in her nastiness.

Barkhimer, Spyres, Whelton (Photo: Mark S. Howard)

The characters get uglier and nastier as the play progresses. This includes Nick and Honey who, at first, appear taken aback by the sadistic behavior but end up getting taken up by it.

Paula Plum captures Martha’s disappointment (that’s certainly a mild word for it) and frustration in George’s failure to accomplish more in his life, while her attacks on him only feed into his own self hate which feeds his anger. They fuel each other’s rage.

The set is interesting in that the frame around it that represents the outside of the house is off kilter as is the front door. As I looked at it I got the sense of the alcoholic haze the characters were in. It was like one of those old movies where a player gets hit over the head and the film goes blurry to give a picture of what he is seeing through his eyes.

Whelton, Plum, and Birhimer. (Photo: Mark S. Howard)

Ms Plum and Mr. Barhimer are a tour de force as George and Martha. Gnawing at each other’s hearts in an alcohol infused rage it is hard to believe, though it is true, they actually love each other. The problem is, they hate their lives.

Ms Spyres and Mr. Whelton do a fine job playing the clean cut early 60s college educated couple who really are not so clean cut after all.

Woolf is not an easy play to watch. It is disturbing seeing these college faculty members cutting each other to pieces. It must have been extremely shocking when it first opened in 1962, and even with the language having been updated by Mr. Albee to include many expletives, you might think it would seem mild by today’s standards. It isn’t. This production is excellent and well worth seeing, but just remember, you won’t leave the theater smiling.

A Little More About The Comedy of Errors In Hartford

by Bobby Franklin

Well, January isn’t even over yet and I have already reviewed five plays to kick off the new year. While just about everything I have seen has been good, some superb, I have to say The Comedy of Errors at the Hartford Stage is going to be tough to top. My review only touched on some of what made that production so great.

Matthew Macca and Ryan-James Hatanaka
Photo: T. Charles Erickson

I have to add that while it certainly had a Greek theme it also included the music from a Chubby Checker recording of Never on a Sunday in both English and Greek versions as transitional music that gave a definite Beach Blanket Bingo feel to it. Two Carmen Miranda tunes, Tico Tico and Cuanto Le Gusta were delightful. Cuanto Le Gusta was performed marvelously by the two Dromeos (Alan Schmuckler and Matthew Macca), while Nell (Tara Heal)treated us to Tico, Tico And, there was a huge Bollywood scene with the entire cast dancing to Chunari, Chunari from Monsoon Wedding. It was spectacular!

All great fun!

 

 

Original review:

There Are No Errors In This Comedy

There Are No Errors In This Comedy

The Comedy of Errors

At The Hartford Stage
50 Church Street
Hartford, CT
Directed by Darko Tresnjak
Through February 12th
www.hartfordstage.org

Reviewed by Bobby Franklin

Louis Tucci, Paula Leggett Chase, Alexander Sovronsky
Photo Credit: T. Charles Erickson

Returning home after viewing the Saturday matinee performance of the Hartford Stage production of Shakespeare’s The Comedy of Errors I wanted to immediately sit down and write my review. There was one problem however, I could not stop laughing long enough to focus on my keyboard.

Director Darko Tresnjak has taken one of the Bard’s earliest plays and set it in 1965 Greece while adding music and dance to it. From the opening when Paula Leggett Chase steps out and sings a sexy and sultry Never On A Sunday in the best tradition of Melina Mercouri, I knew this was going to be something very special.

Photo Credit: T. Charles Erickson

The set, which was designed by Darko, is breathtaking. Save your money on a ticket to Greece, you are there when you step into the theater. The colors are vibrant, with boats docked at the foot of the stage, the Phoenix and the Priory rising behind it and the Greek countryside as a backdrop is something to behold.
It is the Greece of Topkapi and Zorba.

Save your money on a ticket to Greece, you are there when you step into the theater.

But what would Greece be without music and dance? Drawing on original songs from the period and using onstage musicians playing on a bouzouki and an accordion for much of it, (some of the music is piped in and also great), the audience becomes a part of the experience. Throw in some moussaka and baklava for good measure.

I guarantee you will leave the theater with tears of laughter streaming from your face

Now top this off with Shakespeare’s madcap story about two sets of twins and the mixups that ensue along with an outstanding cast and you have one of the best plays on stage so far this season. Sprinkle some Marx Brothers flavored comedy on top and the laughter never stops. How often do you get to see a Shakespeare play with scuba divers, surfboards, beachballs, rubber chickens, and a human battering ram? All this while retaining the original language and story. And, all taking place within a 24 hour period.

Photo Credit: T. Charles Erickson

Trying to chose a particular moment or actor to praise is too difficult in such a fine production. Everyone is just wonderful and spot on. Seeing so many actors staying in synch while so many different and crazy things are occurring is marvelous. This production is fast paced, constantly funny, musically delightful, and filled with wonderful dance numbers. It is a joy to watch all of them perform. The lighting and choreography are up to the usual high standards of the Hartford.

This production is fast paced, constantly funny, musically delightful, and filled with wonderful dance numbers.

When someone asks me to pick a Shakespeare play for their first time experience, I don’t suggest The Comedy of Errors. It is funny but not with the depth of his later work. However, after seeing this production I can recommend it without any reservations. If you
have stayed away from Shakespeare because you thought he wrote in another language, or if you are a lifetime Bardologist, you owe it to yourself to make the trip to the Hartford Stage. If I lived closer I would see it again, and again.

Photo Credit: T. Charles Erickson

Darko Tresnjak and the Hartford Stage have never disappointed me with their Shakespeare productions. There are many excellent companies in New England performing these works, but The Hartford Stage ranks at the top.

After attending a performance I guarantee you will leave the theater with tears of laughter streaming from your face, the salt of the Mediterranean in your nose, a hunger for some moussaka, and an urge to cry out, “Zorba, teach me to dance!”

A Little More About The Comedy of Errors In Hartford

Johnny Risko The Cleveland Rubber Man

New Biography Gives Rugged Contender
The Recognition He Deserves

Johnny Risko: The Cleveland Rubber Man

By Jerry Fitch

Tora Book Publishing, 168 pages, $18.00

reviewed by Bobby Franklin

The 1920s and 1930s were truly boxing’s Golden Age. Just the shear number of participants in the sport guaranteed it. Boxing historian Mike Silver points out in his book, The Arc of Boxing, there were between 8,000 and 10,000 fighters licensed during this period. In 1927 New York and California alone had 2,000 licensed boxers each. That is way above the total number of fighters participating today, and these fighters were much more active. Because there were so many fighters there were also a huge number of fight venues. During these years, and even during the Great Depression, a boxer could make a decent living fighting every couple of weeks. Add to this the fact that there were gyms everywhere that were filled with excellent trainers. Where a boxer never lacked for sparring, and you can see why fighters from this period were so good.

While places like New York were certainly Meccas for boxing, the rest of the country did not lack in fight clubs. In these pre television days boxing was one of the most popular forms of entertainment. Cleveland, Ohio had a very vibrant fight scene, and  boxing historian Jerry Fitch is working hard to keep the history of boxing in that area alive. Jerry is the author of a terrific biography of the great heavyweight Jimmy Bivins as well as “Cleveland’s Greatest Fighters of All Time”, and a memoir, “50 Years of Fights, Fighters, and Friendships.

Johnny Risko

In his latest work Jerry takes his keen historian’s eye and focuses it on one of the toughest and most prolific fighters to emerge from Cleveland, heavyweight contender Johnny Risko, also known as “The Rubber Man” because of his ability to take punches and still keep coming forward. This is not too say Risko just stood there and absorbed punches, no, he was also a skilled boxer, but it was next to impossible to knock him down or out. In fact, in approximately 140 fights (the exact number is not known) Johnny was only stopped three times one of which was by the great Max Schmeling. He was counted out only one time and that was in his last bout when he was 38 years old.

Reading Jerry Fitch’s book on Risko is a boxing history lesson in itself as it goes beyond the career of Johnny Risko. Just reading through the Cleveland contender’s record is amazing. The names that appear there, the people he fought, is a who’s who of boxing from that glorious period. It is staggering to see who the Rubber Man went up against. Jack Sharkey, Gene Tunney, Mickey Walker, Tom Heeney, Max Baer, Tony Galento, Tommy Loughran, Ernie Schaaf, to name just a few. And Risko was no “opponent”. He beat many of these men. He split a pair of decisions with Baer and beat Louhgran two out of four times. No, Risko was far from an opponent, he is more remembered as a “spoiler” as he ruined many a contender’s chance at getting a title shot.

Max Schmeling and Risko

While just looking at the Risko record can be enough to excite any fight fan, it is in reading Jerry’s lively account of his life and battles that is really a treat. Mr. Fitch has done tireless research in digging up accounts, many of them first hand round by round reports, of these great fights. You are there when Johnny beats George Godfrey, you have a seat at the Risko v Schmeling bout, you can see the smile of frustration on Max Baer’s face as he is unable to hurt the Rubber Man. This is living history.

Along the way Jerry also treats his readers to short, but detailed, biographies of many of Risko’s opponents. His treatment of Max Schmeling is very interesting. In just a few pages he gives a concise account of of the German’s career and fighting style.

Johnny Risko’s life is also covered in great detail. He was a smart businessman who walked away from boxing with money in his pocket and an appreciation for life. As I moved along in this book I felt I was really getting to know this interesting character from Cleveland’s past. He sounds like a guy who was quick with a smile and a happy remark. I doubt anyone would have felt uncomfortable in Risko’s company.

Risko Jabs Jack Sharkey

So why didn’t Johnny Risko ever get a shot at the title? Well, he came close many times but the timing was never quite right. Back then fighters didn’t score a victory over a top fighter and then wait around for the big fight. No, they kept fighting and sometimes would lose and get set back a bit. In the days of Johnny Risko, being a top contender really meant something. As is pointed out in this fine biography, Johnny was a top notch fighter. He was a true contender. Take a second to look at his record and I know you will want to learn more about him. Fortunately, thanks to Jerry Fitch you have that opportunity. His book will bring the Cleveland Rubber Man to life for you.

I would like to point out if it weren’t for dedicated boxing historians such as Jerry Fitch who devote untold hours researching these greats of the past they would be forgotten. Jerry, and others like him, deserve the eternal gratitude of all boxing fans who care about the legacy of this once great sport. It is important to support the work they do.

Thank you Jerry Fitch for the work you do. Johnny Risko and the others are looking down from above and smiling.

Information about and signed copies of “Johnny Risko, The Cleveland Rubber Man” by Jerry Fitch can be obtained by emailing Jerry at JerryFitch1946 [at] gmail [dot] com

Epic Brecht At The New Rep

Brecht on Brecht

Directed by Jim Petosa
New Repertory Theatre
Watertown, MA
Through March 5th

Carla Martinez, Brad Danile Peloquin, Jake Murphy, Christine Hamel Photo: Andrew Brilliant/Brilliant Pictures

Bertolt Brecht envisioned plays being performed in settings much the way a boxing match is. He felt the audience (crowd) should not become lost in the production but rather stay aware of the fact they are watching a play and to think about what they are witnessing. He believed in the use of harsh lighting that did not hide the audience. He also wanted people to engage in the ideas that were being presented. This method became known as Epic Theatre.

Jim Petosa has given us a wonderful opportunity to see this type of theatre

The Black Box Theatre at the Mosesian Center for the Arts is the perfect venue for such a work, and The New Repertory Theatre under the direction of Jim Petosa has given us a wonderful opportunity to see this type of theatre close up, as it should be.

With the audience seated on three sides of the stage and the lights kept up throughout most of the piece, the actors engage the spectators as Brecht preferred to call the audience.

Christine Hamel, Carla Martinez, Jake Murphy (Photo: Andrew Brilliant/ Brilliant Pictures)

There are four actors all of whom represent some aspect of Bertolt Brecht. They are accompanied by Matthew Stern on piano. The poetry and lyrics are all from Brecht. At times it can be a bit chaotic, sometimes reminiscent of a beatnik coffee house poetry session, a bit madcap, and always engaging. The actors arrive noisily on the black and white stage in a shopping cart and are wearing bright red clown noses. They immediately disrupt things by knocking over music stands and making firm eye contact with the spectators.

The actors, Christine Hamel, Brad Daniel Peloquin, Carla Martinez, and Jake Murphy who are listed in the program as Mature Woman, Mature Man, Young Woman, and Young Man respectively are all very engaging, which is exactly what this work is meant to be.

We hear Brecht’s thoughts on many subjects including the blight of the intellectual under totalitarian regimes (in one case an author was upset his books had not been destroyed), and theatre. The piece on theatre reminded me of Shakespeare’s advice to the players from Hamlet. While the dialog can be provocative, different conclusions can be drawn from it. Brecht wanted his spectators to grapple with the ideas, not just sit and take them in.

Jake Murphy, Carla Martinez, Christine Hamel, Matthew Stern on Piano. (Photo: Andrew Brilliant/Brilliant Pictures)

A scene where Ms Hamel is making numerous calls to friends in order to explain why she must go away for a while is chilling as we realize she is fleeing the Nazis. The changes in her voice when speaking with different people is very telling. Her comments are quite thought provoking as she reveals her change in status and how it has effected her views of others. Matthew Stern’s use of the piano for sound effects is just right.

Carla Martinez and Jake Murphy bring anger and brashness to the poetry. Again, so much is said that could be taken one way at first glance but when thought about more deeply can be seen in different ways.

Brad Danial Peloquin is just marvelous with his amazing tenor voice.

Brad Danial Peloquin is just marvelous with his amazing tenor voice. A voice that is not only a joy to hear when he is singing but also when he is engaged in dialog and poetry. He is simply sublime. His rendition of Mack the Knife is certainly not reminiscent of Bobby Darin, and that is meant as a compliment. Mr. Peloquin is superb as he moves about the stage accompanied by Mr. Stern on the piano.

Brecht on Brecht is not easy if you are walking in cold. The music is almost exclusively written in minor keys and can be quite heavy. It is not the type of theatre most people are accustomed to. It is, however, an experience that should be taken in. Director Petosa has assembled a wonderful cast who are fully up to the task of presenting this work the way it should be done. Bridget K. Doyle’s lighting design was spot on (pun intended).

I would suggest spending a short time reading up on Epic Theatre (just Google the term) before going. If you do that you will understand just what a fine work the New Rep is presenting here. It is something special to see and hear. It is also a work that will make you think. Just remember, you are not being preached to, you are being engaged. You are being asked to think, to argue, to participate. This is an evening of very interesting theatre. Do a little preparation and step into the arena.

newrep.org
617.923.8487

Theatre Openings

Another Round Of Theatre Productions Is Coming Up And There Is No Shortage Of Productions To Fill  Your Calendars.

The SpeakEasy Stage will be kicking things off with Grand Concourse which will run from March 5th to April 1st Calderwood Pavillion located in Boston’s South End.

GRAND CONCOURSE tells the story of Shelley, a Catholic nun and former high school basketball star, who now struggles to find meaning in her work as the manager of a Bronx soup kitchen. With the help of Oscar, a former Dominican dentist now making a living as a security guard, Shelley tends to her flock, a colorful crew that includes Frog, a homeless former intellectual who now passes time writing joke books. The arrival of Emma, a college dropout looking for a sense of purpose, is at first a welcome addition to the team, but the girl’s erratic behavior soon takes its toll. With gentle humor and great heart, GRAND CONCOURSE explores the mysteries of faith, forgiveness, and compassion.

The cast includes Ally Dawson, Thomas Derrah, Melinda Lopez, and Alejandro Simoes.

From March 10th though April 7th the Huntington Theatre Company will be presenting Top Dog/Underdog at the BU Theater on Huntington Avenue in Boston.

Topdog/Underdog is a darkly comic, deeply theatrical fable about family wounds and healing bonds. Lincoln and Booth are brothers: best friends and bitter rivals. Lincoln, a former 3-card monte hustler, works as a Lincoln impersonator in a shooting gallery; Booth is an aspiring grifter. He tempts his brother to get back in the game, but the consequences could be deadly.

Suzan-Lori Parks made history as the first African American woman to win a Pulitzer Prize for Drama in 2002 with Topdog/Underdog. Additionally, she is named among Time magazine’s “100 Innovators for the Next Wave” and is also the recipient of two Obie Awards and a MacArthur “Genius” Grant.

Over at the Lyric Stage on Clarendon Street in Boston you will be able to see Stage Kiss running from February 24th through March 26th.

Life imitates Art. Art imitates Life — and Love. In Stage Kiss, two squabbling long-lost loves are cast as long-lost lovers, and quickly lose touch with reality in this comic, romantic, and revealing play-within-a-play. Playwright Sarah Ruhl and Director Courtney O’Connor (Red Hot Patriot, Buyer & Cellar) take us on-stage, back-stage, and right out the stage door in this charming tale about what happens when lovers share a stage kiss and when actors share a real one.

Caryl Churchill’s Cloud 9 will run at the Hartford Stage from February 23rd through March 19th in, where else?, Hartford, CT.

The world of Cloud 9 contains unexpected trysts, gender swaps, role reversals and power plays. Victorian repression clashes with liberal expression as the play follows a British family from colonial Africa to London in the 1970s. The tantalizing comedy explores the ever-changing world of sexual politics as it asks what it takes for each of us to reach our own Cloud 9.

Cloud 9 was Caryl Churchill’s first international hit. The playwright’s other works include Top Girls, Mad Forest, Love and Information, A Number and Serious Money. The Guardian recently wrote that Churchill “now shares with Tom Stoppard the title of Britain’s most significant living dramatist.”

There is plenty to see, many fine theatre companies producing excellent work, and so much great talent performing. The weather is improving and there is no better way to spend an afternoon or evening than enjoying a play. The folks at all of these theaters work hard to give us first class productions and they rarely fail. We are lucky to have so many theatre companies near by. Take in a show or two, or three. You won’t be disappointed.

 

 

 

 

 

 

Ali v Frazier I: 11th and 15th Rounds

Remarkable Moments In A Remarkable Fight

by Bobby Franklin

This coming March 8th will mark the 46th anniversary of the first Ali vs Frazier fight, The Fight of the Century. It will also be the first time the date will arrive with both men now having passed on. Rewatching this great fight it is hard to believe neither Joe or Muhammad is still with us. That night in Madison Square Garden they both appeared to be immortal. It was as if two ancient gods had stepped down from their mountains to do battle for control of the universe.

I am surprised how their third encounter has taken most of the spotlight over the years. While that was a great brawl, both men had lost much, if not most, of their great skills. The first bout was the only time in history when two undefeated men with legitimate claims to the Heavyweight Championship met to settle things. The fight lived up to all of the hype and even more. I truly believe the fight would be given more notice if Ali had won, and that is the reason the third fight is so often shown. The Ali publicity machine never stopped working while Joe Frazier slipped into a quiet retirement. It is too bad because their first meeting was one of the greatest fights and greatest sporting events of all time. It should be shown every March 8th. Fortunately, it can be seen on Youtube, and boxing fans should take an hour on the anniversary to watch it.

I have written about the fight on a number of occasions. Each time I watch it I see something new. Each time I watch it I am still in awe of what a battle of wills it was. Each time I watch it I am in disbelief of how these two men were able to hold up for fifteen rounds at such a torrid pace.

Today, as I reflect back on that night, I want to focus in on a couple of moments from that war. These occurred in the 11th and 15th rounds, and I would like to share my thoughts with my readers.

When the bell rang for the 11th round both fighters appeared to be slowing down. Ali was content to stay on the ropes and Joe was not landing with the same power he had been displaying over the pervious 10 rounds. The fight seemed to be losing its intensity and that was no surprise seeing the pace these two had set. Well, that was about to change.

With about a minute left in the round, Ali was on the ropes near a corner. Frazier had landed a couple of left hooks on Ali’s chin, but not with full force. Then it happened, Joe let a hook rip that caught Ali and buckled his legs. Muhammad attempted to get out of the corner and stepped to his right with Frazier in pursuit. This is a key moment in the fight and if things had gone slightly different would have most likely been the end of the bout.

As Ali moved along the ropes trying to escape from Joe, Frazier landed a powerful left hook to Muhammad’s jaw. Ali fell backwards and his arms swung back and away from his body. He was wide open to be hit at will. He was hurt and off balance. So why didn’t Joe follow up?

Watch this moment in the fight and you will see why. There are a couple of different views of it, but all clearly show what happened. After Joe landed that brutal shot and Ali’s legs buckled it appeared he was going down, and indeed he would have. Joe seeing him start to go down stepped away to head for a neutral corner. What then happened is that as Ali was on the way down his backside caught one of the ropes and held him up. Joe looked over as he was walking away and immediately rushed back to Ali. By this time Muhammad had righted himself and had his hands back in position. If Joe had not believed Ali was going down he could have landed at will and very likely ended the contest. In boxing, seconds and fractions of seconds make a difference, and it certainly did in this case. Frazier pummeled Ali for the remainder of the round. He staggered him a couple of more times, but he could not finish him off.

The 15th round produced another amazing moment in a night of great moments. In what is perhaps the most famous knockdown in boxing history, Joe dropped Muhammad with a tremendous left hook early in the round. Ali went down flat on his back. It looked as if the fight was over. However, in what seemed like a miracle, Ali not only got up but rose almost immediately. How was he able to regain his feet after absorbing such a shot? Both men were beyond exhausted. Ali was caught flush on the jaw by one of the hardest left hooks ever thrown. Or was he?

Ali used to brag that he had a built in radar that could detect punches that were about to hit him so he could avoid them at the last second. His radar was working here. He was not able to avoid the punch, but if you watch closely as the blow connects you will see Ali moving his head as the punch makes contact with him. Basically, he, to some degree, rolled with the punch. It was still a brutal shot, but it would have been much worse had he not moved the way he did. It is amazing his mind and body were still able to respond in that manner seeing how grueling the fight had been.

I remember seeing Arthur Mercante, the referee for the fight, interviewed once. When questioned about the 15th round he said he felt the men were so tired that he feared he might push one or the other over while breaking a clinch. It just shows how much Ali and Frazier drove themselves in this battle of wills.

I once had a chance to talk with Arthur Mercante. I asked him how much he got paid for officiating that night. He told me he received $500.00. When I said it didn’t seem like much he turned to me and with a big smile said, “I would have done it for nothing.”

This March 8th take an hour to watch this fight. Do it to honor two great athletes. Do it to remember what boxing once was.

NEW REPERTORY THEATRE PRESENTS

GOLDA’S BALCONY

BY WILLIAM GIBSON DIRECTED BY JUDY BRAHA

MARCH 25-APRIL 16, 2017

New Repertory Theatre presents Golda’s Balcony, March 25-April 16, 2017 in the Mainstage Theater at the Mosesian Center for the Arts, 321 Arsenal Street, Watertown, MA.

“As one of the first democratically elected female heads of state, Golda Meir’s historic rise cannot be understated,” says Artistic Director Jim Petosa. “Golda’s Balcony is a cornerstone in a season we’ve entitled Prologue, as we look back through history to inform the present. At a time when our current political environment is in flux and America’s standing on the world stage is at a critical juncture, it is illuminating to produce plays that continue to examine today through the lens of the past.”

Bobbie Steinbach

“New Rep is thrilled to welcome back Bobbie Steinbach to our stage after appearing in a number of productions over the years including most recently our smash-hit revival of Fiddler on the Roof last December,” says Managing Director Harriet Sheets. “Bobbie brings with her a creative energy that is unmatched in the Greater Boston theatre community, and we welcome all to join us for our much- anticipated production of Golda’s Balcony this spring.”

Golda’s Balcony follows Golda Meir from her humble beginnings as a Wisconsin school teacher to her meteoric rise through Israel’s early political system, becoming one of the world’s first elected female heads of state and one of the most influential women in Israel’s history.

Tickets are $30-$59 and may be purchased by calling the New Rep Box Office at 617-923-8487 or visiting newrep.org. Student, senior, and group discounts are available.

Kisses and Laughter Aplenty At The Lyric

Stage Kiss

The Lyric Stage

140 Clarendon St. Boston
Through March 26th

Reviewed by Bobby Franklin

Sarah Ruhl’s Stage Kiss now playing at the Lyric Stage is two plays within a play that centers on the problems that arise when former lovers are cast opposite each other in a revival of a 1930s melodrama, The Last Kiss, which is also about two former lovers.

Make no mistake, this play is very funny.

He (Alexander Platt) and She (Celeste Oliva) the former lovers who haven’t seen each other in over ten years are brought together when trying out for roles in a revival of a 1930s Noel Coward style play The Last Kiss. Sexual tension immediately arises as old passions become inflamed. She, who is now married and has a daughter while He is in a relationship with a woman from either Iowa or Illinois (you’ll understand when you see it), don’t take long to act on their desires.

Will McGarrahan, Celeste Oliva, Michael Hisamoto (Photo: Mark S. HowardMake no mistake, this play is very funny. Ms Oliva, as She, is a positive riot as she reads for the part in front of director Adrian Schwalbach (Will McGarrahan). It is her first time trying out for a production in years and Oliva plays the part with a frenetic humor that conveys She’s self doubt. I couldn’t help but think this might not be much of an exaggeration of what many actors have been through. Mr. McGarrahan as Schwalbach is the perfect straight man. His timing is excellent as he knows just when to deliver a line or a look to allow the lines to sink in. I have seen him in a number of productions and he as yet to disappoint.

Alexander Platt and Celeste Oliva. (Photo: Mark S. Howard)

He is played by Alexander Platt. He, shallow and self centered, lives just in the moment. He seems not at all concerned with the fact that She is married and has a child. At first this doesn’t seem important as the laughs keep coming and it is amazing to see the set for The Last Kiss come together as the action moves along. The play begins with an almost bare stage that evolves into a beautiful setting with lovely costumes. It is magical to see as it happens bit by bit while the lights are dimmed.

Director Courtney O’Connor also plays a bit with the audience on when intermission is about to start. It is all fun and a nice touch.

In Act II things begin to falter a bit. The Last Kiss has been a flop and now He and She are teaming up with Adrian in a new play he has written and is producing in Detroit. She has left her husband Harrison (Craig Matthers) and her daughter Angela (Theresa Nguyen) to be with He. He’s former girlfriend Laurie (Gillian Mackay-Smith) and Harrison have taken up with each other. Angela’s reaction to all of this is not hurt but anger that doesn’t seem all that real. She also seems quite self centered.

And this is why things don’t quite work in the second act. While there are plenty of funny situations, we are still seeing a marriage torn apart and a child whose mother has walked out on her. I never got the sense anybody really was feeling much pain about all that had happened. Towards the end Craig Mathers gives a very moving and well done monologue about marriage that feels out of place as he appears to be the only one who grasps what has really happened. The lines he delivers include “Marriage is about repetition. Every night the sun goes down and the moon comes up and you have another chance to be good. Romance is not about repetition.” Beautiful words, and while She does go back with him, I don’t believe it is the words that have moved her. Her shallowness still rings through. Without an emotional investment in the characters it is hard to feel much even when listening to these lovely words so well delivered by Mr. Mathers.

Will McGarrahan, Celeste Oliva, Alexander Platt, Michael Hisamoto. (Photo: Mark S. Howard)

Now, I do have to say something here about Michael Hisamoto who plays a number of parts including the Kevin the understudy in The Last Kiss and a pimp in the play in Detroit. Mr. Hisamoto almost steals this production. He is positively hilarious in his scenes with Ms Oliva in Act 1. Their kissing scene is side splitting funny. Every time he steps onto the stage you can feel his energy. His presence is subtle but very strong. He can elicit laughter with just a sidewards glance. He is a very talented young actor and I hope we get to see more of him soon.

Mr. Hisamoto almost steals this production

Stage Kiss may have some flaws, but it is still a production worth seeing. It is refreshing to sit in a theater and laugh. It is nice in this very heated political era to be able to step away from all the arguing and be able to escape for a couple of hours. Theatre plays many roles in our society. Some of it is political. But it is also important that it gives us a break from the anxieties that creep into our lives. Stage Kiss does that.

Stage Kiss

by Sarah Ruhl

Directed by Courtney O’Connor

Lyricstage.com

A Moving Look At The Challenges Of Being Kind

Grand Concourse

SpeakEasy Stage

Through April 1st

Reviewed by Bobby Franklin

You will be deeply moved by what you see.

The SpeakEasy production of Grand Concourse by Heidi Schreck now playing at the Calderwood Pavilion in Boston’s South End is one of those truly wonderful theatre experiences that touches on so many emotions.

Oscar, Shelly, Emma, and Frog.
Photo Credit: Glenn Perry

There are four characters in this play that takes place in the food preparation area of a soup kitchen in the Bronx. As the play progresses the depth and struggles of each of these individuals becomes more apparent. It is impossible to watch this work and not become emotionally invested in each one of them.

Shelly, played by Melinda Lopez, is the Catholic nun who runs the kitchen. She is committed to her work but is having doubts about her faith and purpose. She practices praying while using a microwave timer. Shelly is a kind and compassionate human being, but is that enough and  what does it mean to be compassionate? Melinda Lopez brings depth and warmth to Shelly. I felt I had known her for years.

One day Emma, a college drop out, stops by and offers to volunteer. At first she seems like a young person who wants to do something good, but as the play progresses we see there is much more going on with her. Played by the very talented Ally Dawson, Emma is very manipulative and makes things quite difficult for the others. She also accomplishes much good while pushing the others to the limits of their compassion. Ms Dawson handles this very complex character perfectly. It is an emotional roller coaster watching her, and I have to say I felt drained by her actions. However, it  me feel good in the sense that I was forced to look more deeply into someone whom it would have been very easy to write off as superficial and self absorbed.

Frog and Oscar
Photo Credit: Glenn Perry

Thomas Derrah plays Frog a homeless man who has been a regular at the soup kitchen for some time. In between telling and selling jokes to the others, he also spins his philosophy on life and insights into people and society. I have seen Mr. Derrah perform for more years than I would like to admit, and I have to say it would be a challenge to find an actor who can match him for how consistently good he is. He certainly does not disappoint here. He makes many entrances and exits in the course of this production and each one is fresh and outstanding.

Oscar, played by Alejandro Simoes, is the maintenance man. He is funny and kind. Oscar was a dental student in his native Dominican Republic and is now struggling to put a life together in the United States and marry his girlfriend Rosa. At first he appears to be a fairly light character, but Mr. Simoes treats us to a man who has weaknesses and conflict but is filled with decency. He truly touches us with his goodness.

Shelly and Emma
Photo Credit: Glenn Perry

Grand Concourse easily could have been a very predictable and formulaic work about people helping people and getting caught up with the conflicts in their own lives. At first I thought that’s where it was going. What author Heidi Schreck has given us is a play that goes much deeper than that. I was very moved by this play. It compelled me to ask  what it means to have compassion and what the limits are to it. The Catholic social activist Dorothy Day once said her purpose was to comfort the afflicted and afflict the comfortable. Well, it’s not always easy to tell who is afflicted and who is comfortable.

The SpeakEasy Stage has done it again and this is a play not to be missed.

I have to admit I left the theatre emotionally spent. It was an amazing afternoon watching terrific actors working with a fine script that was well directed and staged beautifully. I highly recommend Grand Concourse. The SpeakEasy Stage has done it again and this is a play not to be missed. You will be deeply moved by what you see.

Grand Concourse

Directed by Bridget Kathleen O’Leary

Through April 1st

The SpeakEasy Stage
At The Calderwood Pavillon
South End, Boston

speakeasystage.com

617.933.8600

When Heavyweights Ruled

 Jerry Izenberg Recalls The Time And Excitement

Once There Were Giants: The Golden Age Of Heavyweight Boxing

Skyhorse Publishing, NY, NY

Reviewed by Bobby Franklin

From the time of John L. Sullivan and through most of the 20th Century being the Heavyweight Champion of the World meant being the stuff of legends. It was as close to immortality as any man could get. Young boys would dream of growing up and one day being the next Jack Dempsey or Joe Louis. To hold that great title also meant being arguably the most famous man in the world. It is impossible to recall the Roaring Twenties without thinking of Dempsey. The 30s and 40s always have Joe Louis’s visage looking at us from that time of the Great Depression and WWII. As America got back to work after the War we had Rocky Marciano to remind us of the value of hard work and perseverance. In between each of these great champions were other great men who left their own mark on the history of boxing. The Heavyweight Championship was the most difficult to attain and most prestigious honor to capture in all of sports and I would argue in any realm of the world of entertainment.

It is sad that today it is just a memory. That great title no longer exists. Oh, there are people, a lot of them, who claim it but none who have earned it. I doubt there are any young men today who wake up in the morning with that dream their grandfathers and fathers had of being the Champ. Those days are far behind us, but they didn’t go away without a fight.

The final era when the Heavyweight Title still meant something was also one of its most exciting, Jerry Izenberg in his new book Once There Were Giants: The Golden Age Of Heavyweight Boxing (Skyhorse Publishing, NY,NY) brings us back to that very exciting time.

If you were fortunate enough to have experienced boxing from the 1960s until the late 1980s Jerry’s book will bring back terrific memories of what may have been the most competitive period in the history of boxing among the big men. Mr. Izenberg argues it was, and he is standing on solid ground when he says so. It was certainly a very exciting time to be a fight fan.

In a lively narrative Mr. Izenberg brings us to ringside and into the backrooms to visit with the fighters to relive many great moments.

As background Mr. Izenberg chronicles the rise and fall of the mob that took place from the 1930s up until the 1960s. We are introduced or reintroduced, depending on your age, to such characters as Owney Madden, Frankie Carbo, Jim Norris, Blinky Palermo, and many other gangsters who controlled boxing for decades. It is a sordid history of corruption and strong arm tactics and very worth reading.

After Rocky Marciano retired, the Heavyweight Championship fell into a sorry state. Cus D’Amato who had crusaded against mob control of boxing was able to take hold of the title with his young fighter Floyd Patterson. Mr. Izenberg sheds a lot of light on the real D’Amato who, it turns out, had his own mob connection. D’Amato also made it even more difficult for legitimate contenders to get a shot at the title because he was not going to allow his champion to step into the ring with any opponent who had a pulse. At least with the old mob a fighter could buy his way in. With D’Amato the division went into a period where having talent only increased a fighter’s chances of not getting a title fight.

Ironically, it took the underworld figure Sonny Liston to change things, though it took someone else to shake up the world of boxing. When Sonny won the title by destroying Patterson boxing epitaphs were being written. Boxing had gone from a mama’s boy to a man who was pure evil. It didn’t look like it could sink any further.

This is where Jerry’s book goes from the darkness to the glory times. A young Cassius Clay had returned from the Rome Olympics waving his Gold Medal and proclaiming himself “The Greatest”. He stepped up and whupped Sonny and began a new age in boxing. An age Jerry Izenberg was there to witness from beginning to end.

In a lively narrative Mr. Izenberg brings us to ringside and into the backrooms to visit with the fighters to relive many great moments. When Clay, now Ali, became champion he fought everyone. Of course, a number of these contenders had grown old waiting for a title shot, but they were no longer going to be denied. Ali fought often and was always heard from. He was loved and hated, and he was exciting. Boxing was now back in a big way, and Mr. Izenberg brings it all alive again.

As Ali was mowing down the old line of contenders a whole new crop was sprouting up. While none seemed an immediate threat to Ali, it was going to get interesting. Well, it did get interesting when Ali was stripped of his title for refusing to be inducted into the Army. With Ali sitting on the sidelines the heavyweight division still blossomed as many of the young prospects developed into serious contenders. By the time Ali returned to the ring boxing was a whole new picture. It had certainly become much more competitive and even more exciting.

Jerry Izenberg follows these events up until the implosion of Mike Tyson when it can be said heavyweight boxing was breathing its last. We are there for the three Ali v Frazier fights. The Foreman destruction of Frazier as well as Ken Norton’s win over and two controversial losses to Ali. And the rise of Larry Holmes, a fighter who never got the respect he deserved.

Mr. Izenberg’s insights are terrific, and his chapter on the Holmes v Cooney fight is particularly interesting. The racial overtones that fight took on were a sad episode, but it is good to know they were not shared by the fighters.

There are also many behind the scenes stories about the rise and fall of Mike Tyson that include one very personal moment the author had with the future champ as well as the story of Teddy Atlas’s break with D’Amato and Tyson. Boxing fans will love this.

And if that isn’t enough, Jerry takes you to the Pruitt-Igoe Housing Project in St. Louis for a visit with Michael Spinks. The visit took place at midnight in the notorious project and it took plenty of courage for Jerry to show up. It does result in a very interesting story.

Jerry Izenberg and Ali

If you want to know what competitive boxing is like. If you want to know what it is like to have evenly matched contenders fighting for the title. If you want to get a taste of the electricity that would fill the air all across the country when the Heavyweight Championship was on the line you will find it in Once There Were Giants. It’s unfortunate it will never be seen again.

Throwin’ The Cards At The Huntington

TopDog/Underdog

Through April 9th

Huntington Theatre Company

 

Reviewed by Bobby Franklin

Matthew J. Harris and Tyrone Mitchell Henderson (Photo Credit: T. Charles Erickson)

Two African American brothers named Lincoln and Booth are sharing a one room flat. Lincoln has left his wife, or she has left him. Booth has taken him in and he is sleeping on the recliner. By day Lincoln plays Abraham Lincoln at the local arcade where people can pay for the privilege of assassinating him. “It’s a good sit down job with benefits.” Booth makes his way by boosting (shoplifting), and he is good at it.

Harris and Henderson are perfect together. They never miss a beat with their timing and movement. Both are a pleasure to watch.

In Topdog/Underdog now playing at the Huntington Theatre in Boston we see the two brothers as they deal with the cards they have been handed. In this case the cards are from a deck used for playing Three Card Monte, a slight of hand game used to hustle people out of money. Lincoln used to be very good at the game, one of the best, but gave it up after seeing a close friend shot to death by a disgruntled loser. Booth wants to learn how to be good at it and have the two of them team up and make a fortune. A life Lincoln does not want to return to, or at least he is trying to convince himself he doesn’t want to.

Tyrone Mitchell Henderson and Matthew J. Harris (Photo Credit: T. Charles Erickson)

In the course of what seems to be a pretty basic story about two brothers making the best of what they have there are plenty of laughs. The quick banter between the two, Lincoln (Tyrone Mitchell Henderson) and Booth (Matthew J. Harris), is sharp and funny. There is a scene where Booth does a striptease taking off layer after layer of clothing he has boosted, providing two classy suits, one for himself and one for his brother. Matthew J. Harris has all the moves in a dance that seems it will never end, nor do we want it to.

While there are plenty of laughs, as things progress we begin to see the pain the two are in. Frustration, discouragement, loneliness, and anger all begin to show slowly and painfully. Lincoln, who is five years the elder, repeats how lucky he is to have his job so many times that it becomes clear he is trying to convince himself of it. He keeps resisting the temptation to go back to “throwin’ the cards”, but finally succumbs when he is replaced by a wax dummy at the arcade.

The banter and the hand movement makes you want to throw your money down and find where the black card has landed.

The two were abandoned by their parents when they were 16 and 11 years old but were each given a small inheritance. They also have a photo album that they, or at least Booth, keeps up to date. The brothers also talk about their parents quite a bit. It was not exactly a stable environment to be raised in, and they haven’t been left with a lot of options.

As I have written, this is a very funny play, but when the darkness reveals itself it is deep and painful. It is tragic watching Lincoln and Booth working with their very limited options. They do what most people end up doing when they are up against the wall; they return to what they know how to do. Unfortunately, that is not much of a choice for either of them.

Matthew J. Harris is fast, sharp, and fluid as Booth. He is filled with energy as he moves about the stage and talks about his future with his girlfriend Grace.

Tyrone Mitchell Henderson and Matthew J. Harris (Photo Credit: T. Charles Erickson)

Tyronne Mitchell Henderson as Lincoln is subtle yet commanding on stage. His voice and movements convey wisdom and conflict; hope and much pain. Watching him show Booth how to set up a Three Card Monte scam is captivating. The banter and the hand movement makes you want to throw your money down and find where the black card has landed

Harris and Henderson are perfect together. They never miss a beat with their timing and movement. Both are a pleasure to watch.

Director Billy Porter has set the play, written by Suzan-Lori Parks, on a stage that is not time specific. It is a reminder of just how long people have struggled under such circumstances, and of how strong the pain is of trying to make it in life when the bottom rungs of the ladder have been removed. For all of the laughs and good natured back and forth in this work, you will leave the theatre wondering why things have to be this way and what can be done to prevent it from happening. People have many different answers. The trick is in finding the right ones.

Topdog/Underdog

by Suzan-Lori Parks

Directed by Billy Porter

Now through April 9thThe Huntington Theatre Company

Avenue of the Arts

BU Theatre

264 Huntington Ave., Boston

617.266.0800

huntingtontheatre.org

 

 

NEW REPERTORY THEATRE ANNOUNCES 2017-2018 SEASON: RESILIENCE

 IDEATION, OLEANNA, MAN OF LA MANCHA, UNVEILED, STATEMENTS, LONELY PLANET, RIPE FRENZY,
THE BAKELITE MASTERPIECE, TWO JEWS WALK INTO A WAR

Johnny Lee Davenport

Featuring nine productions, New Rep’s 2017-2018 season includes Ideation, a dark satirical comedy and Boston-area premiere; Oleanna, David Mamet’s groundbreaking drama, featuring Johnny Lee Davenport; Man of La Mancha, a revival of the Tony award-winning musical, featuring Maurice Emmanuel Parent; Unveiled, a one-woman show written and performed by Rohina Malik and co- produced with Stoneham Theatre; Statements After an Arrest Under the Immorality Act, and engaging political drama by Athol Fugard; Lonely Planet, an evocative social drama by Steven Dietz; Ripe Frenzy, a site-specific drama and Boston-area premiere; The Bakelite Masterpiece, a riveting historical drama and Boston-area premiere; and Two Jews Walk into a War…, a hilarious existential comedy featuring Jeremiah Kissel.

Jeremiah Kissel

“The plays in our 2017-2018 season will showcase the remarkable resilience of the human spirit,” says Artistic Director Jim Petosa. “Theatre has the power to shed light in dark times, to illuminate and stimulate thought, and to provide a forum for us to come together as a community in conversation. It is our hope that these plays will inspire and engage as New Repertory Theatre continues to be a place where the vital ideas of our time can be discussed freely and openly.”

“Our 2016-2017 season was one of our most successful ever, and we owe a great amount of that success to our patrons,” says Managing Director Harriet Sheets. “We heard from so many audiences members throughout the year and

their passion and enthusiasm for our productions and mission was clear. It is because of that support that the Boston Globe recently called us ‘a potent force,’ and so we’re pleased to share another extraordinary lineup in 2017-2018.”

MainStage Theater & BlackBox Theater | Mosesian Center for the Arts 321 Arsenal Street | Watertown, MA 02472

617-923-8487 newrep.org

The Venerable Ogunquit Playhouse Celebrates its 85th Anniversary Season with a North American Premiere, a World Premiere, a Global Sensation and Broadway Hit Shows!

Ogunquit Playhouse

The Ogunquit Playhouse, one of the Northeast’s cultural jewels and a cornerstone of America’s theatrical heritage, is celebrating its 85th Anniversary Season, and, true to its legacy, the 2017 season will be filled with the newest and brightest musicals, world and national premieres and a timeless classic, all complete with top-notch professional casts and creative teams direct from Broadway, Los Angeles, and London. The milestone season runs from May 17 to October 29 and will feature the American and the world premieres of two brand-new musicals, From Here to Eternity and Heartbreak Hotel. It also includes one of the biggest international hit sensations of all time, Mamma Mia!, which will run for an unprecedented seven weeks. Rounding out the 2017 season are Bullets Over Broadway, the delightful and hilarious musical based on the acclaimed Woody Allen film, and Ragtime, one of the most powerful musicals ever adapted for the stage. The season will stretch to the holidays once again with the return of the hit show White Christmas in collaboration with The Music Hall in Portsmouth, New Hampshire.

“As we enter our 85th Anniversary Season, we are very focused on the legacy we are proud to preserve and its future so that it endures for generations to come. We are thrilled to bring a mix of pure entertainment along with some of the most compelling stories ever created for the stage, including two exciting new shows to American audiences,” said Ogunquit

Playhouse Executive Artistic Director Bradford Kenney. “This year seems to be the perfect time to share one of the greatest stories ever adapted for the stage, Ragtime. With its beautiful score, it tells the emotional story of three families set against the turmoil and swiftly changing culture of early twentieth century America, when immigrant families were striving to find their place in a new world. Heartbreak Hotel tells the story of a young Elvis Presley and the groundbreaking music he brought to the popular culture during the height of the civil rights movement. It is a true rags to riches tale set within a time period when America was once again challenged with changing times. And, we are so very honored to be working with the great Tim Rice on the development of his musical adaptation of one of the most influential World War II stories, From Here to Eternity.”

10 Main Street (Rte 1)Ogunquit, ME 03907 207.646.5511
ogunquitplayhouse.org

The Fighting Kessler Brothers

By Mike Silver

The ultimate goal of every professional boxer is to win a world title, but running a close second is the opportunity to be featured in a main event at the world’s most famous sports arena—Madison Square Garden. During the Golden Age of boxing, from the 1920s to the 1950s, the honor of topping a card in “the Garden” was an achievement to be savored for the rest of a boxer’s life.

A brief historical note: There have been four Madison Square Gardens. The first dates to the late 1870s. But the building that is most synonymous with boxing’s glory days—and the one most fondly remembered by those who experienced it—was the third version that occupied an entire block on New York’s Eighth Avenue between 49th and 50th streets. Garden III stood as a monument to the sport from 1925 to 1967. It was demolished in 1968 and replaced by the current Madison Square Garden located 16 blocks south at 33rd street and Seventh Avenue.

Gaining entry into boxing’s holy of holies was a privilege not easily attained. Certain standards had to be met. Even the undercard boxers had to have records that warranted an invitation. Boxers who fought main events in other arenas might only qualify for a six round preliminary or eight round semi-final in the Garden. To appear in the featured bout of the evening was equivalent to starring in a Broadway theatrical production.

Because of the arena’s status, and the importance of boxing to the popular culture at that time, the result of a Garden main event made news throughout the world. For every boxer lucky enough to appear in a Garden main event the knowledge that a good showing—win or lose—could mean an invitation back and another good payday spurred them to put forth their best effort.

On the night of August 9th, 1946 Ruby Kessler, a 19 year old welterweight out of Brooklyn’s Coney Island neighborhood, was prepared to do just that.

Ruby Kessler

Ruby’s journey to a featured bout at the world’s most famous arena began three years earlier when he knocked out Ray Ramirez in the first round at the Fort Hamilton arena in Brooklyn. It was an auspicious beginning for the 135 pound boxer. Ruby had followed his older brother Milton into the ring. In fact, on the same night that Ruby scored his first pro victory Milton fought in the main event.

Milt Kessler had turned pro in 1939 and quickly established a reputation as one of the finest young boxers in New York City. He was a classic stand up boxer with quick hands and agile footwork. The Kessler brothers were part of a grand boxing tradition. Jewish boxers were an integral part of the boxing scene, having produced hundreds of title contenders and 29 world champions from the early 1900s to the late 1930s. They hoped to become the second set of Jewish brothers to win world titles. The first were Abe and Monte Attell who ascended to their thrones at the turn of the last century.

Milt Kessler

Milt compiled an impressive 31-4-2 won-lost-draw record before he was drafted into the Army in 1943. He was one of 4000 American professional boxers who served in the armed forces during World War II.

After being discharged from the army in 1946 Milt decided not to continue his boxing career. By that time Ruby had graduated from preliminary boxer to main bout status. He began the year by winning six in a row before dropping an eight round decision to Patsy Brandino at the Queensboro Arena. But just sixteen days later Ruby scored his most impressive victory by coming off the floor to stop veteran Pat Scanlon in the 7th round of a ten rounder at Brooklyn’s Ebbets Field. That victory earned him his first Garden main event. His opponent was Greenwich Village’s tough Tony Pellone. A few months earlier Pellone had scored a major upset by ending Billy Graham’s 58 bout undefeated streak via a controversial ten round decision.

Pellone and Kessler had similar records and were evenly matched but Pellone had an advantage: He was a mob managed fighter. As a “connected” fighter there was always the possibility that the fight judges and the referee would be under orders not to vote for his opponent if the bout went the distance. The day before the fight the odds favored Pellone at 9 to 5. By fight time the odds had increased to 11 to 5 on Pellone. There was no reason for this unless word had gotten out that the fix was in and Pellone could not lose.
In a rousing see-saw fight that the New York Times described as “a bruising battle that held the interest of the crowd right to the final bell” Pellone won a split decision that was greeted with boos by a majority of the fans in attendance.

Irving Kessler, Ruby’s younger brother, believes the decision was preordained. In an interview with the writer he offered as proof the referee’s telling Ruby after the fight, “Sorry Ruby, the best I could give you was a draw”. There is no question the fight was very close but in the end the two judges scored it 5-4-1 for Pellone, with the referee voting a draw. It should not surprise anyone with knowledge of boxing history that the decision might have been fixed. Professional boxing in the 1940s and 1950s was heavily infiltrated by mob elements and fixed fights were not uncommon.

Less than six weeks later Ruby knocked out Pat Foley in the first round. Over the next two months he outpointed Pat Scanlon in ten and finished out the year by stopping former contender Cleo Shans in three. Those victories earned Kessler a second Garden main event. On January 17, 1947, in front of 14,000 fans, Ruby crossed gloves with master boxer Billy Graham. An interesting sidelight to the fight was that both men were trained by Whitey Bimstein. As a result Bimstein decided not to work in either boxer’s corner.

Ruby Kessler and Billy Graham

The Graham bout was the most important fight of Ruby’s career. Graham was a highly regarded welterweight contender. Fortunately he was not a mob managed fighter so if the fight went the distance a fair decision would be expected.
A victory over Graham would put Ruby in line for a title shot. But it wasn’t to be. Although every round was closely contested the difference came down to Graham’s vast experience (he had twice as many fights as Kessler). Graham’s accurate counterpunching and superb defensive skills gave him the edge, but Ruby never stopped trying and when tagged would fight back even harder.

Ruby lost the decision but impressed the critics with his tenacity and toughness. Writing for the New York Times, James P. Dawson praised Kessler’s performance: “The Coney Island youngster is one of the most courageous fighters in the welterweight class today and a lad who is dangerous even when staggering around the ring groggily under fire. In ten rounds that sizzled with superb boxing and sparkled with sharp, solid hitting, Graham received the unanimous decision.”

In his next bout Kessler was stopped in the 7th round by lightweight contender Juste Fontaine. Fritzie Zivic, the ex-welterweight champ who was known for his foul tactics, trained Fontaine. He schooled his protégée well in the art of dirty fighting. Kessler was ahead in the scoring but during the bout was repeatedly fouled. Punches below the beltline, hitting with an open glove, thumbing and butting were taking a toll. The bout took place in Philadelphia, Fontaine’s hometown. The referee, obviously favoring the hometown favorite, issued a few warnings but would not disqualify or deduct points from Fontaine. In the seventh round a weakened Kessler was backed against the ropes and taking punishment when the referee intervened and stopped the bout. As the fighters left the ring Ruby’s brothers Milt and Freddy confronted Zivic and an argument ensued. Several punches were exchanged before security stepped in and broke it up.

Ruby was disappointed by the losses but not deterred. Over the next 19 months he fought 16 times. His most notable opponents included former contender Bobby Ruffin (WD-8, Draw-10), former junior welterweight champion Tippy Larkin (LD-8, LD -10) and eighth rated welterweight Charley Fusari (LD-10).

On October 11, 1948 Ruby was knocked out for only the second time in his 57 bout career when he was stopped in the first round by welterweight contender Tony Janiro. Although he was only three weeks shy of his 22nd birthday the loss convinced Ruby it was time to hang up his gloves.

Irving Kessler is 88 years old. He is the only surviving member of the Kessler clan (originally seven brothers and one sister). Irving remembers how proud he was to carry his older brother’s equipment bag to the gym. He attended almost all of Ruby’s fights and recalls “a fearless boxer who would take on anyone. Whereas Milt was a pure boxer who was often compared to the great Benny Leonard, Ruby was a fighter who rarely took a backward step and didn’t mind mixing it up if the situation called for it. He was an excellent boxer and puncher and if you were not a title contender or champ you couldn’t get by Ruby.”

Ruby Kessler left the sport just as television was beginning to mass market boxing to millions of new fans. No doubt his all action style of fighting would have made him a very popular TV boxer.

Following his retirement Ruby partnered with his brother Milt and opened a bar in Brooklyn. Two years later they ran into financial problems and Ruby decided to pick up a payday by fighting again. On December 23, 1950, at the Ridgewood Grove Arena in Brooklyn, Ruby was holding his own against journeyman Joey Carkido when he suffered a deep gash over his left eye that caused the referee to stop the fight in the 6th round. He never fought again. His final stats were 38-17-2. He knocked out 17 opponents and was KO’d 3 times.

In 1955 Ruby handed the bar over to his brother and took a full time job as a sales representative for a liquor company.

Back in the days when boxing was still boxing not everyone got to be a world champion. There was a definite hierarchy of boxing talent and generally eight champions (today there are over 100) for each of the eight (now 17) weight classes. In that unforgiving environment to be competitive with the best took an extra measure of character and talent. Despite never having won a title Ruby Kessler measured up to the task and was an indispensable part of boxing’s greatest generation.

Mike Silver is the author of Stars in the Ring: Jewish Champions in the Golden Age of Boxing (2016, Lyons Press) and The Arc of Boxing: The Rise and Decline of the Sweet Science (McFarland Publishers, 2008).

Research assistance was provided by Irving Kessler.

Frazier vs Ellis 1970

Jimmy Showed Incredible Courage

by Bobby Franklin
It was 1970 and Muhammad Ali was still in boxing exile. Ali had been deprived of a license to box by the commissions in all fifty states. The Ring Magazine continued to recognize Ali as the champion arguing a title can only change hands in the ring.

Meanwhile, two other fighters laid claim to a portion of the title. the argument being since Ali could not fight they were deprived of a shot at the championship. In 1967 the WBA sponsored a tournament to find a successor to Ali. Joe Frazier was invited to participate but declined. Jimmy Ellis did take part though he was considered a long shot at winning. He proved the pundits wrong when he went on to win the tournament by defeating Leotis Martin, Oscar Bonavena, and Jerry Quarry. If memory serves me right, Jimmy was the underdog in all three fights.

Frazier went on to win his share of the title with a knock out win over Buster Mathis. Joe’s portion of the crown was sanctioned by the New York State Athletic Commission and a few other governing bodies.

Five months after winning the WBA title Jimmy Ellis traveled to Sweden to defend it against Floyd Patterson. Patterson had taken part in the original tournament but lost a close decision to Jerry Quarry in a semi final match. Ellis, fighting with a broken nose sustained in the first round, won a hard fought 15 round decision over the former two time champion. Because of the damage to his nose Jimmy had to take some time off. When he was better there were proposals for fights against Henry Cooper and Gregorio Peralta, but neither materialized.

During the same period Frazier defended his portion of the title four times defeating Manuel Ramos, Oscar Bonavena, Dave Zyglewicz, and Jerry Quarry. Frazier was staying active and sharp.

The public, now not sure if Ali would ever return to the ring, began to clamor for a unification bout between Frazier and Ellis. You see, back then people were used to there being only one heavyweight champion at a time and having the title divided up just didn’t seem right.

At some point in late 1969 Ali had made a statement that he would never fight again. It was at this point Nat Fleischer, the editor at Ring Magazine, announced he would recognize the winner of an Ellis Frazier fight the undisputed champion.  Fleischer was the most respected voice in boxing and what he said carried a lot of meaning.

The bout was set for February 16, 1970 to take place at Madison Square Garden. As was the norm at the time it was to be a fifteen round affair, fifteen rounds or less.

Ellis entered the ring weighing 201 pounds to Joe’s 206 pounds. This was the heaviest weight Jimmy had ever fought at. Frazier was a 6 to 1 favorite though many in the press gave Ellis a very good chance at winning; after all, he had overcome the odds time and again. He also had something else going for him. Jimmy had tremendous power and speed in his right hand. He had dropped the iron jawed Bonavena twice with that punch. In two fights against Frazier lasting a total of 25 rounds Bonavena was never even staggered.

Both contestants entered the ring looking confident and fit. Ellis did look bigger than in previous encounters, but also looked strong. Frazier was lean and energized.

When the bell rang for the first round it was apparent what Ellis’s strategy was and why he came in at the heavier weight. Jimmy came out with a puncher’s stance. He feet were wider apart than usual, and even though he was moving, he was more setting himself up to be able to throw power shots as Joe came at him.

During that first round Ellis threw dynamite at the bobbing and weaving Frazier. Joe was hit on a number of occasions by the one/two combos Jimmy threw but none of the shots caught him squarely on the chin. While Ellis won the opening stanza Frazier had landed some telling left hooks to the body. Yank Durham, Joe’s trainer had taught his pupil years earlier the old boxing adage, “If you kill the body the head will die” and Joe learned the lesson well.

In the second round Frazier came out on fire. He was extremely aggressive and started crowding Jimmy. Ellis was able to tie him up but it took a lot of strength to do so. He was also taking more hooks to the body from Joe. It is also interesting to see Frazier throwing and landing the occasional left jab.

By round three Frazier was running on all cylinders. While Jimmy was still trying to land the one/two combos he was being kept busy just fending off Joe’s murderous assault. Frazier was firing off brutal combinations to the head and body. His attack was furious and by the end of the round Ellis had been staggered and his legs were very heavy.

Between rounds Jimmy was taking deep breaths while Joe looked like he had hardly broken a sweat.

The fourth round saw Frazier at his murderous best. Jimmy came out and immediately threw two right leads in a desperate attempt to turn the tide of battle. Frazier rolled under both of them and then went to work. He started with a vicious body attack and then moved to the head. At this point Ellis had lost the ability to move much on his legs. With about a minute left in the round Joe backed Jimmy up against the ropes and dropped him with a left hook. Ellis was up at nine and was now fighting on sheer courage.

Jimmy was trying hard to land that one good punch but he had nothing left. As the fighters moved to mid ring Joe stepped to his right and unleashed a brutal left hook to Jimmy’s chin. Ellis went down flat in his back. As the referee, Tony Perez, counted over him the bell rang. By some miracle Ellis staggered to his feet and walked to his corner. It was at this point, against protests from Ellis, that Angelo Dundee called the fight off. It was the right and decent thing to do. Jimmy’s courage could have gotten him killed.

Frazier would go on to defend his title against Bob Foster and then Muhammad Ali. Jimmy Ellis would continue fighting taking on Ali and much later have a rematch with Frazier. He would never again fight for the title.

Review: Our American Hamlet

The Booth Family:
Tragedians On And Off
The Stage

Our American Hamlet
The Commonwealth Shakespeare Company

Reviewed by Bobby Franklin

The world premiere of Our American Hamlet now playing at the Sorenson Center for the Arts at Babson College in Wellesley is a fascinating and intriguing look at a family that would have been remembered more for producing two of the greatest Shakespearean actors of the 19th Century, had it not been for actions of John Wilkes Booth who gained infamy by assassinating Abraham Lincoln. His words “Sic semper tyrannis”, shouted on the stage at Ford’s Theater that  April night would become one of the most remembered lines in theatre history. It would also cast a shadow over the Booth name, one that had survived scandals but nothing compared to this horrible deed. It is against this backdrop the play unfolds, and it is an interesting one.

Our American Hamlet is an evening of wonderful theatre and should not be missed.

In Jake Broder’s play we get to see all of the Booths in their greatness, their near madness, and their rivalries. It is a complicated story that Mr. Broder makes easy to follow by using the character of Adam Badeau, which he plays, as the narrator and as a friend of Edwin’s. He is very effective in keeping everything in perspective.

Jake Broder
Photo Credit: Nile Hawver/Nile Scott Shots

The play opens with Mr. Broder taking the stage next to a ghost light. He sets the action with a speech that is reminiscent of the opening scene of Henry V. We then see Edwin Booth as he is preparing back stage for his first performance since his brother’s infamous deed. Much of the play takes place backstage as the action moves to the past and the family history is told.

Jacob Fishel and Will Lyman
Photo Credit: Nile Hawver/Nile Scott Shots

The Booth story is both fascinating and intriguing, one of great success and much pain. Junius Brutus Booth, the family patriarch, is a man with a love for his liquor who appears to be bordering at times on madness. He is played by Will Lyman who takes the role to the edge without allowing it to slip into caricature. Mr. Lyman, who is one of Boston’s great actors, lives up to his reputation in this role.

Jacob Fishel
Photo Credit: Nile Hawver/Nile Scott Shots

As I watched Jacob Fishel in the role of Edwin Booth I was thinking what a challenge it must be to portray a man who is considered to be one of the greatest actors of all time. Mr. Fishel does not appear to be at all intimidated by this and is a joy to watch. The back and forth between Edwin and Junius is sprinkled with lines from Hamlet that are never overplayed and always appropriate to the action. Edwin spent years dealing with his father’s mood changes and alcoholism as well as verbal abuse. He also spent this time observing his father and learning the craft of acting. When the opportunity arose he was ready. Mr. Fishel and Mr. Lyman are at times intense in their roles opposite each other, an intensity that drives the action.

Joe Fria
Photo Credit: Nile Hawver/Nile Scott Shots

Joe Frias brings us a John Wilkes who has much youthful confidence but is lacking in the talent his brother and father possess. Mr. Frias does a fine job in showing the bitterness that develops as John becomes frustrated and then made to feel inadequate by Edwin who not only overshadows him on the stage but also has a penchant for making him feel inferior. How much all of this played into the madness that drove him to assassinate the president is something we will never know.

Brother June (Kelby Akin), sister Asia (Lucy Davenport), and mother Mary Ann Holmes (Maureen Keiller) are the rest of the family. June owns a theatre in California, Asia marries the owner of a theatre not for love but because it will help advance Edwin’s career, and Mary encourages John in his desires to make a career on the stage while at the same time throwing guilt onto Edwin.

The voices of the actors in this production are like music.

Steven Maler has done a fine job directing this original piece of theatre. It is interesting to have scenes where we, the audience, get to sit backstage looking out at a theater while the actors perform scenes from Shakespeare and watch from behind as they take their bows or have their breakdowns. There is even a bit of Our American Cousin performed. The final scene is a wonderful piece of theatre that overlaps the Hamlets and the Booths. It is very interesting to see.

Our American Hamlet is an evening of wonderful theatre and should not be missed.  You will enjoy, learn much, and leave asking many what if questions. The voices of the actors in this production are like music. They are clear and resonant. A joy to hear.

Putting on a new play is a risk for any theatre company and the Commonwealth Shakespeare Company is to be commended for staging this work. I highly recommend Our American Hamlet, you will not be disappointed.

Our American Hamlet
By Jake Border
Directed by Steven Maler
Through April 2nd at the Sorenson Center for the Arts
Babson College, Wellesley, MA
781.239.5660
www.commshakes.org

A note: Wellesley is not on another planet. The Sorenson Theater is very easy to find using GPS. There is plenty of free parking, and the theater is very comfortable with plenty of leg room. The Commonwealth Shakespeare has partnered with Babson College and is now able to stage productions all year long in addition to their free Shakespeare on the Common every summer.

Bobbie Steinbach Shines In Golda’s Balcony

Golda’s Balcony

The New Repertory Theatre

Reviewed by Bobby Franklin

Bobbie Steinbach
(Photo: Andrew Brilliant/Brilliant Pictures)

The New Rep Theatre production of Golda’s Balcony playing through April 16th at the Mosesian Center for the Arts in Watertown is simply outstanding. The story about the life of Israeli Prime Minister Golda Meir that centers on the events surrounding the 1973 Arab-Israeli War also delves into the life of Golda Meir and the history of how Israel came into being.

If ever there was an actor suited for a role it is Bobbie Steinbach as Golda Meir.

The one person play directed by Judy Braha with Bobbie Steinbach in the title role relates Ms Meir’s journey from Russia to Milwaukee, where she married and became a school teacher, to her move to Israel where she was elected that country’s only female Prime Minister. It is a story of struggle and determination that is also filled with much humor. It is also a reminder of how close Israel came to being destroyed in 1973, and how Golda Meir through guts, determination, and hard nosed negotiations with the United States was able to secure the weapons needed to defend her country against its aggressors and prevent World War III. The philosopher Eric Hoffer once said “As it goes with Israel so will it go with all of us.” After watching this production there is little doubt about the truth of those words.

Bobbie Steinbach
(Photo: Andrew Brilliant/Brilliant Pictures)

If ever there was an actor suited for a role it is Bobbie Steinbach as Golda Meir. She is outstanding from start to finish, moving about the stage telling the story and recreating conversations. To say this is a riveting performance would not be an overstatement.

Golda’s Balcony with Ms Steinbach has everything you could want in an evening of theatre. A fine actor playing an amazing woman whose historical significance is not to be overlooked. The pain, the tears, the laughter, and conflict that comes when, as Ms Meir asks “What happens when idealism becomes power?”

It is a story that should be heard by all, and you won’t find a better telling of it than the one now playing at the New Rep. Don’t miss Bobbie Steinbach in Golda’s Balcony.

Golda’s Balcony
Playing through April 16th
The New Repertory Theatre at
The Mossesian Center For The Arts
Watertown
617.923.8487 newrep.org

Commonwealth Shakespeare Company’s “Shakespeare and Leadership Series” presents RICHARD II

Carling-Sorenson Center for the Arts at Babson College
Wednesday, April 5 at 7:00P

Commonwealth Shakespeare Company, Founding Artistic Director Steven Maler, is pleased to present its annual Shakespeare and Leadership series, focusing this spring on the historical drama Richard II. The event will take place at the Carling-Sorenson Center for the Arts at Babson College on Wednesday, April 5, 2017.
The event is free and open to the public, but reservations are recommended since space is limited. To reserve a seat log onto https://web.ovationtix.com/trs/pr/967285

 

The series features a script-in-hand reading of one of Shakespeare’s plays performed by renowned business, government, and community leaders alongside actors. The plays are cut down to run about 60 minutes. The reading is followed by a panel discussion by the participants addressing leadership questions and themes raised in the text. This year, the title will be Richard II, Shakespeare’s history play that focuses on disruption and the transition of leadership. Although the struggle for England’s throne was never simple, the kingdom lasted for over three hundred years before the sovereignty passed outside a direct familial line. But when an inept ruler – indecisive, frivolous and vain – angered the established nobility, one man interceded and cast doubt over the legitimacy of England’s leadership for generations to come.

 

Participants in the reading and discussion of Richard II will include Dr. Kerry Healey, President of Babson College; Jeff Gonneville, Chief Operating Officer of MBTA; Jon Abbott, President and CEO of WGBH; Harriet Cross, British Consul General in Boston; Donna Latson Gittens, CEO and Founder of MORE Advertising, Dennis Hong, Founder and CEO of ShawSpring Partners, and Yehuda Yakoov, Consul General of Israel. The event will be directed by CSC Associate Artistic Director Adam Sanders, and moderated by CSC Artistic Director Steven Maler.

 

Commonwealth Shakespeare Company (CSC), best known for its annual free performances on Boston Common, is a non-profit theater organization founded in 1996, dedicated to presenting vital and contemporary productions of William Shakespeare and other dramatic works to the people of Greater Boston, and to exploring Shakespeare’s work with youth in innovative and creative ways. CSC’s Free Shakespeare on the Common has served over one million audience members over its 22-year history, and has become a beloved summer tradition enjoyed by nearly 75,000 people annually. In 2013, CSC became the Theatre-in-Residence at Babson College in Wellesley, Massachusetts, and has been able to expand its offerings beyond the annual Boston Common production. Starting this season, CSC will present fully staged productions in Babson’s Sorenson Center, as well as readings and other events. CSC fulfills its educational mission with actor-training programs for pre-professional and professional actors through the summer Apprentice program and CSC2.

To learn more about these programs, visit commshakes.org.

HUNTINGTON THEATRE COMPANY ANNOUNCES 2017-2018 SEASON – EIGHT RIVETING STORIES, INCLUDING REIMAGINED CLASSICS, A RENOWNED MUSICAL REVIVAL & TIMELY NEW WORKS

THE 2017-2018 SEASON INCLUDES THE DEFINITIVE PRODUCTION OF AN ACCLAIMED SONDHEIM REVIVAL, A RE-INVIGORATED 17th CENTURY COMEDY, A MAJOR REVIVAL OF A CARYL CHURCHILL CONTEMPORARY CLASSIC, AND MORE, TO BE PERFORMED AT THE HUNTINGTON AVENUE THEATRE AND CALDERWOOD PAVILION AT THE BCA

(BOSTON) – Huntington Theatre Company, Boston’s leading professional theatre, announces its 2017-2018 season. The Huntington has long been an anchor cultural institution of Huntington Avenue, the Avenue of the Arts, and will remain so on a permanent basis. The Huntington’s upcoming season will include productions in the Huntington Avenue Theatre (known as the BU Theatre through June 30), and plans are underway to convert the theatre into a first-rate, modern venue with expanded services to audiences, artists, and the community. The 36th season will include four plays at the Huntington Avenue Theatre, as well as three plays at the Wimberly Theatre and one special event in the Roberts Studio Theatre, both located in the Calderwood Pavilion at the BCA in the South End.

The season will comprise of world-class productions of classics made current and exciting new work created by the finest local and national talent. The lineup features a definitive production of a legendary Stephen Sondheim musical, directed by the acclaimed actor-director Maria Friedman; a new play by Huntington Playwriting Fellow Ken Urban about chance encounters and redemption; a brilliant classic by Molière directed by Huntington Artistic Director Peter DuBois; a revival of one of 2016’s Best Plays of the Year by Huntington Playwright-in-Residence Melinda Lopez; a riveting and timely new play from Dominque Morisseau; Liesl Tommy’s fresh interpretation of a Caryl Churchill contemporary classic; and from a renowned Hollywood reporter, the world premiere play about famed playwright Arthur Miller and the son he refused to acknowledge; plus one show to be announced soon.

“I woke up the morning after the election and knew the 2017-2018 season needed to be full of theatrically bold, smart, and politically-minded work. I also knew we would all need several laughs and to be reminded of our common humanity,” says Huntington Artistic Director Peter DuBois. “The world-class artists we have assembled to tell these timely, human stories are some of the best in the country and beyond, and as always the Huntington experience will leave audiences equal parts inspired, transported, and entertained.”

THE 2017-2018 SEASON LINEUP
· Merrily We Roll Along: Director Maria Friedman recreates her stunning London production of Stephen Sondheim’s legendary musical for Boston audiences; winner of the Olivier Award for Best Musical; at the Huntington Avenue Theatre, September 8 – October 15, 2017

 
· A Guide for the Homesick: a powerful chance encounter between two strangers offers the possibility of connection and redemption in this arresting new drama by Huntington Playwriting Fellow Ken Urban; directed by Colman Domingo; at the Wimberly Theatre in the Calderwood Pavilion at the BCA, October 6 – November 5, 2017

 
· Tartuffe: devious Tartuffe charms Orgon and his household – will they see through the con in time? Molière spins hypocrisy into high comedy in this hilarious and biting satire, one of the world’s great plays; directed by Huntington Artistic Director Peter DuBois; at the Huntington Avenue Theatre, November 10 – December 10, 2017

 
· Skeleton Crew: a makeshift family of auto workers gather in the breakroom of the last small auto plant in Detroit in this riveting and timely new play from Dominque Morisseau; at the Huntington Avenue Theatre, March 2 – March 31, 2018

 
· Top Girls: career-driven Marlene has just landed the top job at a London employment agency in Caryl Churchill’s dazzling contemporary classic about the sacrifices required to be a “top girl” in a man’s world; directed by Huntington favorite Liesl Tommy (A Raisin in the Sun, Ma Rainey’s Black Bottom, Ruined); at the Huntington Avenue Theatre, April 20 – May 20, 2018

 
· Fall: renowned Hollywood reporter Bernard Weinraub explores the fascinating untold story of celebrated American playwright Arthur Miller and the son he refused to acknowledge; directed by Huntington Artistic Director Peter DuBois; at the Wimberly Theatre in the Calderwood Pavilion at the BCA, May 18 – June 17, 2018

 

PLUS A SPECIAL EVENT:
Mala, a powerful personal drama written and performed by Huntington Playwright-in-Residence Melinda Lopez (Becoming Cuba, Sonia Flew) and named the Best of 2016 by The Boston Globe and WBUR’s The ARTery when it premiered at ArtsEmerson; directed by David Dower; at the Roberts Studio Theatre in the Calderwood Pavilion at the BCA, January 6 – January 28, 2018
One more show in the 2017-2018 season will be announced soon.

The Who & The What, A Seriously Funny Play

The Who & The What

Huntington Theatre Company
Calderwood Pavilion, South End
Through May 7th

Reviewed by Bobby Franklin

Aila Peck and Rom Barkhordar
(Photo Credit: T. Charles Erickson)

There is something special happening on the stage of the Calderwood Pavilion. The Who & The What, by Ayad Akhtar and directed by M. Bevin O’Gara, is the story of Afzal (Rom Barkhordar) and his two daughters Mahwish (Turna Mete) and Zarina (Aila Peck). Afzai is from Pakistan and has made his home in the United States where he has raised Mahwish and Zarina. He lost his wife to cancer a few years earlier and misses her deeply but has an upbeat outlook on life. He has worked hard and become successful moving from driving a cab to owning 30% of the taxis in Atlanta. Wth his success he has provided his family with a good life. He is a loving father and wants only the best for his offspring. Afzai is also a conservative Muslim who has raised his daughters in the faith.

Rom Barkhordar and Joseph Marrella
(Photo Credit: T. Charles Erickson)

Mahwish is studying nursing and Zarina has graduated from Harvard and is now writing a novel about “women and Islam”. Afzal is taking a rather unique approach in the culture of arranged marriages by opening an account on muslimlove.com with Zarina’s profile and meets with prospective suitors for his daughter. This results in a very funny meeting at the local coffee shop wth Eli (Joseph Marrella) an American convert to Islam. While this certainly is a great intrusion into the life of Zarina you can’t help but be taken by the devotion Afzai has for both his daughter and his religion.

The Who & The What is a must see play.

While Zarina is devoted to her religion she is also questioning it. Her reading of the Koran is at odds with Afzai’s and this results in some heated, and quite humorous discussions on the subject. Compromises are made and Zarina does fall in love with Eli. All seems well until her novel entitled The Who & The What is published. In it Zarina questions many of the interpretations particularly the requirement by many that women wear a veil. This creates a conflict between Zarina and her father who is unable to accept these views and feels it reflects negatively on the family and may result in a loss of faith as well as exposing them to danger.

Zarina and Mahwish are devoted to each other and their father, which makes it painful to watch as this rupture occurs in the family as well as the strain placed on Eli and his relationship with Zarina.

Rom Barkhordar is simply outstanding as Afzai.

This is a play that very easily could have slipped into political correctness and sermonizing, but it certainly does not. It is an honest look at the conflicts, sometimes very deep, that can drive wedges between family members. Yes, this is a funny play, but it is also deep and moving. It is also very human. Rom Barkhordar is simply outstanding as Afzai. His rich voice and emotion fill the stage. His humor is natural and wonderfully delivered. And while audience members may cringe at some of Afzai’s views about the roles of men and women, Mr. Barkhordar leaves us with no doubt about the decency and love this man possesses.

The Who & The What is not a play that preaches to the audience. Ayad Akhtar does not give us the Ozzie and Harriet version of a Muslim family. He is honest and open about the conflicts that take place in a modern Muslim family that has assimilated into American culture without losing their identity. It is something people of all religions can be touched by. I know I certainly was.

In Boston, a city rich in good theatre, The Who & The What is a must see play. You will leave the theater happy that you spent time with this at times crazy but very interesting, warm, and touching family. Don’t miss it.

huntingtontheatre.org 617.266.0800

Talking Boxing With Jerry Izenberg The Mob, D’Amato, Liston, Ali and Frazier

 

by Bobby Franklin

Jerry Izenberg

Jerry Izenberg has been covering boxing for sixty-five years, forty-five of which have been spent with the Newark Star Ledger. He has also covered fifty Kentucky Derbies, and has attended and reported on all fifty Super Bowls. In his latest book, Once There Were Giants, he looks back at what he calls The Golden Era of Heavyweight Boxing, the period that began with Sonny Liston’s destruction of Floyd Patterson and ended when Mike Tyson decided to make a dinner out of Evander Holyfield’s ear.

Mr. Izenberg covers a lot of ground in his book in which he discusses the many characters that populate the world of boxing. I had the opportunity to talk with him by phone from his home in Henderson, Nevada.

The 86 year old veteran sports writer still sounds strong and sharp as we begin our conversation. In his book Mr. Izenberg gives a brief but detailed history of mob involvement in the sport. I assumed he kept his distance from these rough characters. He tells me “Not always. I wasn’t a partner. I used them as much as I could. Their information was much more reliable.”

I mention Cus D’Amato, the man who proclaimed himself to be the White Knight riding into town to clean out the crooks from the sport . That is proving to be a myth as Mr. Izenberg points out in his book and reiterates in our conversation. “Cus was mobbed up as well. That’s what was so ludicrous. He would say ‘I’m fighting the mob, I’m fighting the mob’.” “Well, what about Charlie Black whose real name was Charles Antonucci? He was the cousin of Fat Tony Salerno who would become the boss of the Genovese Crime family. Any foreign fighter had to have an agent when he came over to fight in this country Charlie Black would act as one.”

As Mr. Izenberg points out this was useful for Cus when he brought over Brian London and Ingemar Johansson to fight Patterson. Fat Tony Salerno also served as protection for D’Amato. In contrast to what Cus wanted people to believe he was just replacing one mob with another.

I bring up the point that boxing was more competitive when the old mob was running it. “Frankie Carbo who was a murderer and a thug nevertheless would have been a great commissioner. He never could lose and on that basis he picked the fights he wanted. He had the winner no matter what.” This often resulted in great fights.

D’Amato used his power to protect his fighters from tough opponents making for much less competitive matches. Cus was worse? “Well he was different. He was so crazy, he was absolutely nuts. This facade of fighting the mob ruined the best part of Jose Torre’s career. He would have been one of the great middleweights of all time if given the chance to fight better opponents.”

Mob control of boxing ended about the time Liston won the title. Scandals and investigations had pretty much broken the back of organized crime in the sport. “There were still mob guys who had fighters, but there was no cabal. That’s why the era was so good. You could fight whomever you wanted to fight.”

There was another reason the era was so good: Mr. Izenberg asks rhetorically, “Look, how many good trainers are left? Show me somebody who could go through school without a teacher. That’s what is at the heart of the problem.”

Ali And Jerry

We move on to the subject of the second Ali/Liston bout that was originally scheduled to take place in Boston but was canceled three days before when Ali was diagnosed with a strangulated hernia. “ Liston was in shape for that fight. I would have picked him. I don’t think he’d ever been in better shape then he was for that fight and it was impossible at his age to get back into that shape, he couldn’t do it”

The match was rescheduled for Lewiston, Maine and now lives on in infamy. I ask Mr. Izenberg what happened up there. “He (Ali) could have shoved him. He could have hit him with a middle finger and he would have gone down because he was so off balance. He made a decision when he was down. He looked up and saw this maniac who wouldn’t go to a neutral corner standing over him and he thought ‘If I get up he’ll kill me’.”

Jumping ahead a number of years we turn to the rivalry between Ali and Joe Frazier. When it comes to the verbal abuse Frazier took from Ali, the name calling and insults such as “Uncle Tom” and calling him a Gorilla. Mr. Izenberg tells me “It never healed. They had a phony reconciliation but it never healed.” On the anniversary of the Manilla fight Mr. Izenberg contacted a number of people involved with the fight to do a “then and now” story. In Mr. Izenberg’s conversation with Ali, the former champ told him, “I was just trying to sell tickets. Tell him if I offended his family I’m sorry.”

When Mr. Izenberg called Frazier to discuss the fight he mentioned Ali’s apology. Joe’s response: “He said that to you? Tell him to take his apology and stick it up his ass.” It is also interesting that Frazier mentioned the famous story about the young Cassius Clay first going to a boxing gym because his new bicycle was stolen. Joe said to Mr. Izenberg “He got a bicycle. I was working in the fields when he got that bicycle. I never had a bicycle.”

Mr. Izenberg tells me Beaufort, SC was named the Hunger Capitol of America. “It really (Ali and Frazier) was a case of the Black Middle Class and the Black Poverty Class.”

Some thoughts on other Ali fights: “Ali/Frazier II was a terrible fight that could have gone either way.” The Ali/Shavers fight: “I think it was the worse beating he (Ali) ever took. He admitted to me he was unconscious on his feet. Ali was too tough for his own good.” The Thriller in Manilla: “They were fighting for the championship of each other, and it was never settled.” And on Ali staying in the game too long, “I always thought he should have quit after Zaire (the Foreman bout).”
As we wind down our conversation he tells me “You can’t find better stories in the universe than in boxing. You have to write it for the names. Names like Goodtime Charlie Friedman and Willie The Beard Gilzenberg.”

I agree that boxing is the most colorful sport to write about, and Jerry Izenberg has lived through it’s best times. He tells me “This is the first, last, and only boxing book I will write.” I hope he is like most fighters who tell us they are retiring and don’t. I am sure that in addition to the wonderful stories he has included in Once There Were Giants, he has many more tales to tell.

Commonwealth Shakespeare Company Presents BECKETT IN BRIEF: Rough for Radio II • The Old Tune Krapp’s Last Tape

Directed by James Seymour
April 27 – May 7
Carling-Sorenson Center at Babson College, Wellesley, MA

Commonwealth Shakespeare Company, Founding Artistic Director Steven Maler, presents BECKETT IN BRIEF – Rough for Radio II • The Old Tune • Krapp’s Last Tape, directed by James Seymour, featuring Will Lyman, Ken Baltin and Ashley Risteen. The production, presented by BabsonARTS, begins performances on April 27 and runs through May 6 at the Carling-Sorenson Center at Babson College, 19 Babson College Drive, Wellesley, MA.

Performance dates: April 27, 28, 29, May 3, 4, 5, 6 at 7:30PM; April 30, May 6 and 7 at 3:00PM

Among Samuel Beckett’s most autobiographical works, Rough for Radio II, The Old Tune, and Krapp’s Last Tape explore universal questions of creativity, memory, aging, sex, friendship, and the proximity of death. These plays from his mid-career are traditionally viewed as individual statements, but the three provide a wealth of impressions when placed in conversation with one another, giving us a better understanding of the legendary playwright’s intellect, passion, and temperament.

Ken Baltin (Cream/Fox)’s credits in the Boston area include Death of a Salesman, Glengarry Glen Ross, Lost in Yonkers, Laughter on the 23rd Floor (Lyric Stage); Kite Runner, Eurydice, Waiting for Godot, American Buffalo (New Repertory); Deported-a dream play, King of the Jews, Permanent Whole Life (Boston Playwrights); Operation Epsilon (Nora Theatre); Copenhagen, A Screenwriter’s Daughter (Vineyard Playhouse); Oleanna (Merrimack Repertory) Brooklyn Boy (SpeakEasy); Last Night of Ballyhoo, I Ought to be in Pictures, Yom Kippur in Da Nang (Jewish Theatre of New England). He teaches acting and directs at The Boston Conservatory at Berklee.

Will Lyman

Will Lyman (Krapp/Gorman) was recently seen as Junius Brutus Booth in CSC’s production of Our American Hamlet at The Carling- Sorenson Center at Babson College, is well known to Boston audiences for his work with CSC, of which he is a founding Board Member (King Lear, Prospero, Claudius, Brutus); Israeli Stage (Oh God, Ulysses on Bottles); the Huntington Theatre (All My Sons, Guess Who’s Coming to Dinner, Dead End); New Rep (Long Day’s Journey into Night, Exits and Entrances, Clean House, Ice Breaker); SpeakEasy Stage Company (The Dying Gaul); Wheelock Family Theatre (To Kill a Mockingbird); Boston Playwrights’ Theatre (The Wrestling Patient in collaboration with SpeakEasy Stage Company, King of the Jews, A Girl’s War); and The Nora Theatre Company (Equus, Operation Epsilon). He is a multiple recipient of the Norton and IRNE Awards and was honored with the Howard Keel Award for service to the Screen Actors Guild. He was given 2013’s Norton Award for Sustained Excellence and 2015’s NETC Award. Television credits include “Crossbow,” “Threat Matrix,” and “Commander in Chief.” Movies for television include Meltdown, Our Fathers, Three Sovereigns for Sarah, and George Washington; he appeared in the films A Perfect Murder, The Siege, Welcome to the Dollhouse, Mystic River, Little Children (narrator), What Doesn’t Kill You. Mr. Lyman has been the narrator of the PBS public affairs program “Frontline” since its second season and has appeared as himself on The Simpsons.

Ashley Risteen (Stenographer) was last seen by Boston audiences in Gloucester Stage Co.’s Man in Snow, which moved on to a run at the La MaMa Experimental Theatre in Manhattan this past November. Her previous Boston credits include Speakeasy Stage Co.’s Appropriate,  Zeitgeist Stage Co.’s Neighborhood Watch, Big Meal, Cakewalk, and Hub Theatre Co.’s 6 Hotels. A native of the North Shore, she has been active in the Newburyport theatre community for many years, notably in the Firehouse Center’s The 39 Steps, and the Actor’s Studio’s Speed-The-Plow.

James Seymour (Director) has appeared in leading roles on Broadway (I Love My Wife), Off-Broadway (Small Craft Warnings, Moonchildren), on television (“Kate and Allie”) and at major regional theatres, including The Long Wharf Theatre, Trinity Repertory Company, and Portland Stage. Directed productions include All the Way Home at the Ensemble Studio Theatre, Road at The Marymount Manhattan Theatre, I Love My Wife at Detroit’s Birmingham Theatre, The Bacchae at UNC-Chapel Hill, and over twenty-five productions for The Island Theatre at the University of Guam. He has also taught Theatre, English Composition, Film, and Literature at Marymount Manhattan College, Queens College, CUNY, The Colorado College, and the University of North Carolina-Chapel Hill. His play Two Lovers (A Taotaomona Tale and I Domino) was produced in Guam. Currently a lecturer in English and Film at the University of Maine, Jim was raised in New Jersey and spent most of his life in New York City, after receiving his BFA from Boston University’s College of Fine Arts and Ph.D. from the Graduate Center at The City University of New York.

www.commshakes.org  781.239.5660

New Repertory Theatre Presents The Gift Horse by Lydia R. Diamond, Directed by Jim Petosa April 22 through May 14

 

“New Repertory Theatre is delighted to present the Boston-area premiere of one of playwright Lydia R. Diamond’s earliest works,” says Artistic Director Jim Petosa. “When I first approached her about a project, she suggested a revival of The Gift Horse. The result is a heartfelt and funny play that shines with Lydia’s unique humor and wit.”
“As our season comes to a conclusion, I’m pleased to welcome back several New Rep favorites,” says Managing Director Harriet Sheets. “Lewis D. Wheeler and Maurice Emmanuel Parent both return after many appearances on our stage, Cloteal L. Horne first worked with New Rep’s educational touring program Classic Repertory Company, and Obehi Janice performed in our Next Voices New Play Reading Series last spring. And I’d like to welcome Zachary Rice and Alejandro Simoes to New Rep for the first time!“

A humorous and introspective Boston-area premiere, The Gift Horse follows Ruth, a successful teacher and artist, whose quick and easy wit masks a painful childhood. With the support of her best friend Ernesto and therapist Brian she finally confronts her tumultuous past in a play infused with nationally-acclaimed playwright Lydia R. Diamond’s distinctive voice.
newrep.org 617.923.8487 321 Arsenal Street, Watertown

SpeakEasy Productions Presents The Bridges Of Madison County May 6 through June 3

 

In The Roberts Studio Theatre At The Stanford Calderwood Pavilion At The Boston Center For The Arts

 

From May 6 – June 3, 2017, SpeakEasy Stage Company will proudly present the Boston Premiere of THE BRIDGES OF MADISON COUNTY, a lush, lyrical musical by Tony Award-winners Marsha Norman (book) and Jason Robert Brown (music & lyrics), based on the best-selling novel by Robert James Waller.

Winner of two 2014 Tony Awards including Best Original Score, THE BRIDGES OF MADISON COUNTY tells the story of Francesca Johnson, a beautiful Italian woman who married an American soldier to escape the war, and now leads a simple but dispassionate life on an Iowa farm. On the day her family departs for a trip to the 1965 State Fair, she is surprised by Robert Kincaid, a ruggedly handsome National Geographic photographer who randomly pulls into her driveway seeking directions. A quick ride to photograph one of the famed covered bridges of Madison County sparks a soul-stirring affair for the couple, whose lives are forever altered by this chance meeting.

M. Bevin O’Gara returns to SpeakEasy to direct THE BRIDGES OF MADISON COUNTY. Her previous SpeakEasy credits include directing the New England Premieres of appropriate, A Future Perfect, Tribes (Elliot Norton and IRNE Awards for Best Production), and Clybourne Park.

Ms. O’Gara’s artistic team includes Music Director Matthew Stern, a recent IRNE nominee for his work on SpeakEasy’s productions of Violet (2016) and The Scottsboro Boys; and Choreographer Misha Shields, a Boston Conservatory graduate now working extensively in both New York and Boston.

Norton Award-winner Jennifer Ellis will play Francesca Johnson, and Wisconsin-native and Boston University alumnus Christiaan Smith will play Robert Kincaid.

Featured in the cast are Peter S. Adams, Rachel Belleman, Christopher Chew, Kerry A. Dowling, Katie Elinoff, Will McGarrahan, Taylor Okey, Ellen Peterson, Nicolas Siccone, Edward Simon, and Alessandra Valea.

The design team is Cameron Anderson (scenic); Mark Nagle (costumes); Annie Wiegand (lighting), David Reiffel (sound), and Garrett Herzig (projections).

THE BRIDGES OF MADISON COUNTY will run for five weeks, from May 6 through June 3, in the Roberts Studio Theatre in the Stanford Calderwood Pavilion at the Boston Center for the Arts, 527 Tremont Street in Boston’s South End.

Ticket prices start at $25, with discounts for students, seniors, and persons age 25 and under.

For tickets or more information, the public is invited to call the box office at 617.933.8600 or visit www.SpeakEasyStage.com .

Seaglass Performing Arts, Under The Direction Of Jean Strazdes, Announces Its 2017 Spring Concerts: An Evening of Spirituals and Heavenly Broadway

 Saturday, May 6, 2017 Christ Church
Dane Street, Kennebunk 7:00 pm

Sunday, May 7, 2017
Wells High School Auditorium
200 Sanford Road (Rtes. 9 and 109), Wells 3:00 pm

The concert will include much loved spirituals as well as music from familiar Broadway productions (Godspell, Ragtime, Rent, Sister Act, West Side Story and more) and movies (Shrek and Working Girl). There will be two performances, the first on Saturday evening, May 6th, at Christ Church in Kennebunk; the second on Sunday, May 7th, at the Wells High School Auditorium at 3:00 pm.

 

Tickets are available through Seaglass [at] gwi [dot] net ; via phone at 207.985.8747; and at Morse Hardware on Post Road in Wells. Tickets are also available at the door.

Prices: $15/adult; $12/senior and student

Don’t Wait To See These Plays By Samuel Beckett

Beckett In Brief

Commonwealth Shakespeare Company

Sorenson Center For The Arts

Babson College, Wellesley, MA

Through May 7th

 

Directed by James Seymour

Reviewed by Bobby Franklin

Will Lyman (Krapp)Photo Credit: Evgenia Eliseeva

Samuel Beckett’s works are not easy to understand, but don’t let that stop you from seeing it. While they are filled with ambiguity it is fun trying to figure out what the meaning is behind them, or if there is any at all. I have been enjoying Beckett’s plays and novels since I was young and yet I am just beginning to crack the meaning, or what I interpret as the meaning, of some of them. You may wonder how I could possibly enjoy work that is not clear to me. Well, that is the fun in it. While it is difficult it is also fascinating, as well as funny, heartbreaking, soul-searching, and intriguing.

The Commonwealth Shakespeare Company in collaboration with Babson Arts is currently presenting three of Becket’s short plays, Rough For Radio II, The Old Tune, and Krapp’s Last Tape at the Sorenson Center for the Arts in Wellesley. If you have never seen a Samuel Beckett play this is a great opportunity to be introduced to his work.

Ashley Risteen (Stenographer) and Will Lyman (Animator)Photo Credit: Evgenia Eliseeva

With a cast led by Will Lyman (Animator, Gorman, and Krapp), and including Ken Baltin (Fox and Cream), and Ashley Risteen (Stenographer) you couldn’t ask for better talent to present this work. Combine this with the fine direction of James Seymour, and having it set in a very intimate theatre, there are only four rows of seats, and you are in for a special evening of theatre.

Rough For Radio II, which all takes place in silhouette behind a screen is about an artists struggle to dig into his creative spirit. The piece is a conversation between Animator and Stenographer with the voice of Fox that rises up from time to time. It is the most difficult of the three plays to understand but oh so interesting to watch.

Will Lyman (Gorman) and Ken Baltin (Cream)Photo Credit: Evgenia Eliseeva

The Old Tune and Krapp’s Last Tape deal with memories and dealing with getting old, lookingback, and regrets. Will Lyman and Ken Baltin are superb as two old friends who sit at what could be a bus stop and talk about old times. Their memories conflict at times, but memories are very often different from what actually happened. There is something very familiar that comes across when listening to these two.

Krapp’s Last Tape is both disturbing and funny. In typical Beckett fashion there is a bit of slapstick involved. The old banana peel is still good for a laugh. Will Lyman, as Krapp, goes it alone in this piece. Well, not quite alone, he also the voice himself (Krapp) to whom he is listening on tape that he made years before. It is interesting hearing the younger Krapp talking about his regrets and the futility of life yet filled with the energy to push forward in contrast the the older Krapp who is still feeling that same futility but is now tired and appears to have not much hope but is not short on regrets as he makes a new tape. Is it his last tape or just the last one up to that time?

Don’t be afraid of seeing this work. I would advise you not to overthink it. Sit and just let it play out in front of you. Better yet, bring some friends along as you will really enjoy discussing it afterwards. You will be surprised by how much you start to uncover as you talk about it.

Take a shot at Beckett In Brief, you will find it interesting and fun.

So, I have now written a review about three of Samuel Beckett’s plays and I am not even sure I know what the heck I have been talking about. I do know that it was a terrific evening of theatre. I don’t recommend everything I see, as my goal with this column is to get people interested in attending theatre who may have never gone, or who haven’t gone in some time. While this may seem like an unlikely work to recommend for a first time theatre goer I feel comfortable in urging my readers to go. Take a shot at Beckett In Brief, you will find it interesting and fun.

Commonwealth Shakespeare, 781.239.5880

www.commshakes.org

Lyric Stage Announces Cast For Camelot

The Lyric Stage has announced the cast for Camelot which plays May 19th through June 25th. This fresh new adaptation directed by Spiro Veloudas will feature Ed Hoopman as Arthur, along with Maritza Bostic as Guenevere, and Jared Troilo in the part of Lancelot.

Rory Boyd, Jordan Clark, Garrett Inman, Jeff Marcus, Margarita Bamaris Martinez, Davron S. Monroe, Brad Foster Reinking, and Kira Troilo round out the cast.

This is Spiro’s first work since his recent health issues and we are all looking forward to seeing the Master in action again.

Lyric Stage, 140 Clarendon Street, Boston. www.lyricstage.com 617.585.5678

HUNTINGTON THEATRE COMPANY PRESENTS THE COMEDY RIPCORD BY DAVID LINDSAY-ABAIRE

BEGINS FRIDAY, MAY 26 AT THE HUNTINGTON THEATRE COMPANY, CALDERWOOD PAVILLION

The Huntington Theatre Company will present the uproarious comedy Ripcord by Pulitzer Prize winner and Boston native David Lindsay-Abaire (Good People, Rabbit Hole) and directed by Jessica Stone (Vanya and Sonya and Masha and Spike). Performances begin Friday, May 26 at the South End / Calderwood Pavilion at the BCA.

“With Ripcord, we welcome back two comedic geniuses to the Huntington: Boston native David Lindsay-Abaire and Jessica Stone,” says Huntington Artistic Director Peter DuBois. “David is among the greatest playwrights ever to come out of the City of Boston and the author of our smash-hit about Southie, Good People. Jessica Stone is a lauded actress and the director of Vanya and Sonia and Masha and Spike. With this kind of genius at work, it is no surprise that this play is laugh-out-loud funny with a truly moving underbelly. It’s The Odd Couple with old women, nursing home shenanigans, and skydiving – what’s not to love?”

In this deliciously inappropriate new comedy, cantankerous Abby is forced to share her room in assisted living with endlessly chipper Marilyn. The two women make a seemingly harmless bet that quickly escalates into a dangerous and hilarious game of one-upmanship, revealing hidden truths that neither wants exposed.

“I’m thrilled to be back in my hometown, and back at the Huntington which has been my theatrical home in Boston,” says playwright David Lindsay-Abaire. “I’m especially excited that Huntington audiences are going to get to see Ripcord, which is another kind of homecoming for me, as it’s a return to my earlier style of playwriting – more overtly comic, outrageous, whimsical, and a little vicious. But most importantly, of all my plays, Ripcord is my mother’s favorite, so I’m happy that she’ll only have to travel a few T stops to see it.”

“I’m so excited to be jumping into the absurd and moving world of David Lindsay-Abaire,” says director Jessica Stone. “The Huntington and Boston both have ties to this artist and his unique perspective. I look forward to creating my own and to the discoveries that follow and to being back at the Huntington where some of my favorite theatrical experiences have taken shape.”

ABOUT THE ARTISTS
The cast includes Nancy E. Carroll (I Was Most Alive with You; Rapture, Blister, Burn; and Good People at the Huntington) as Abby, a short-tempered woman who is determined not to share a room at her assisted living facility. Despite her efforts, she is paired with the gregarious and optimistic Marilyn played by Annie Golden (“Orange is the New Black” and the film Hair). Marilyn’s daughter Colleen is played by Laura Latreille (Ryan Landry’s “M” and Mauritius at the Huntington) and her son-in-law Derek is played by Richard Prioleau (A Raisin in the Sun at Seattle Repertory Theatre). Eric T. Miller (Awake and Sing! at the Huntington) appears as a figure from one of the women’s past, and the young resident aid Scotty is played by Ugo Chukwu (The Bad and the Better at The Amoralists).

David Lindsay-Abaire (Playwright) is a Pulitzer-Prize winning playwright, screenwriter, lyricist, and librettist. His plays Good People and Rabbit Hole have both been produced at the Huntington. Rabbit Hole was honored with the Pulitzer Prize for Drama, five Tony Award nominations, and the Spirit of America Award. Good People premiered on Broadway and received two Tony Award nominations and the 2011 New York Drama Critics Circle Award for Best Play of the Year. Most recently, his production of Ripcord was produced at Manhattan Theatre Club. Other plays include Fuddy Meers, Kimberly Akimbo, Wonder of the World, and A Devil Inside. Mr. Lindsay-Abaire is also a screenwriter, lyricist, and librettist. He has been nominated for a Grammy Award and two Tony Awards (Best Score and Best Book of a Musical) for his work on Shrek the Musical and the Kleban Award as America’s most promising musical theatre lyricist. Mr. Lindsay-Abaire’s screen credits include the film adaptation of Rabbit Hole (starring Nicole Kidman, Academy Award nomination), Rise of the Guardians (Dreamworks), and Oz: The Great and Powerful (Disney).

Jessica Stone (Director) returns to the Huntington after directing Vanya and Sonya and Masha and Spike, based on Nicholas Martin’s Broadway direction. She has worked as an actress on Broadway and Off Broadway, and in television and film, for the last 25 years. She performed in the Huntington’s productions of She Loves Me, Betty’s Summer Vacation, and Springtime for Henry (director Nicholas Martin). Ms. Stone’s directing credits include A Funny Thing Happened on the Way to the Forum (Two River Theater, Williamstown Theatre Festival), 25th Annual Putnam County Spelling Bee (Bucks County Playhouse), Arms and the Man (The Old Globe), Absurd Person Singular (Two River Theater), Charlotte’s Web (TheatreWorksUSA), and June Moon and Last of the Red Hot Lovers (Williamstown Theatre Festival).

The Huntington’s production of Ripcord features scenic design by Tobin Ost (Newsies on Broadway); costume design by Gabriel Berry (Vanya and Sonya and Masha and Spike at the Huntington); lighting design by David J. Weiner (Vanya and Sonya and Masha and Spike, Butley, and Springtime for Henry at the Huntington); sound design and composition by Mark Bennett (A Confederacy of Dunces and Vanya and Sonia and Masha and Spike at the Huntington); and projection design by Lucy Mackinnon (I Was Most Alive with You at the Huntington). Production stage manager is Emily F. McMullen and stage manager is Kevin Schlagle.

The Huntington’s 2016-2017 season is sponsored through the generosity of Sheryl and Gerard Cohen, Carol G. Deane, and J. David Wimberly. The production sponsors for Ripcord are Bette and John Cohen.

www.huntingtontheatre.org  Phone: 617.266.0800

The International Hit Sensation Mamma Mia! Kicks off the Ogunquit Playhouse’s 85th Anniversary Season

Runs From May 17th through July 1st

The Ogunquit Playhouse kicks off its 85th Anniversary Season with the international smash hit Mamma Mia!, dazzling audiences on stage from May 17 to July 1. Over sixty million people from around the globe have fallen in love with the characters, the enchanting story and ABBA’s timeless music which makes Mamma Mia! the ultimate feel-good show! This sunny, funny, international sensation unfolds on a Greek island paradise when on the eve of her wedding, a young woman’s quest to discover the identity of her father brings three men from her mother’s past back to the island they last visited twenty years ago. Non-stop laughs and explosive dance numbers, along with the magic of ABBA’s hit songs that include “Super Trouper,” “Dancing Queen,” “Knowing Me, Knowing You,” “Take a Chance on Me,” “Thank You for the Music,” “Money, Money, Money,” “The Winner Takes It All,” and “SOS,” combine to make this enchanting show a trip down the aisle you’ll never forget!

A cast of Broadway veterans will headline the show including Kate Chapman, Jodie Langel, Angie Schworer, David Engel, Fred Inkley, and star of stage and screen Patrick Cassidy.

Starring as Donna is Jodie Langel, who is making her Ogunquit Playhouse debut. Langel has performed on Broadway and National Tours as Cosette in Les Miserables, as the youngest ever Grizabella in CATS, and as the Narrator in Joseph and the Amazing Technicolor Dreamcoat. Her many regional theatre credits include Evita as Eva Peron, and Funny Girl as Fanny.

Angie Schworer returns to the Ogunquit Playhouse to star as Tonya. Schworer was last on the Ogunquit stage as Roxie in 2010’s Chicago and as Irene in 2007’s Crazy for You. On Broadway, Schworer has appeared alongside Matthew Broderick and Nathan Lane as Ulla in The Producers, and received an Astaire Award nomination for her performance in Catch Me if You Can. She’s been seen on television in “Law and Order,” “CSI,” “As The World Turns,” and “Smash.” She has also appeared in the film version of The Producers.

Starring as Rosie is Kate Chapman, who hails from Broadway to make her Ogunquit Playhouse debut. Most recently, Chapman starred in the cast of Mary Poppins on Broadway, and was a part of the original 2006 revival cast of Les Miserables. Chapman starred as Ms. Claus for five seasons on the Radio City Christmas Spectacular, and was a part of the ensemble in the films Chicago and Nine.

Briana Rapa is making her Ogunquit Playhouse debut as Sophie, following her international tour as Belle in Disney’s Beauty and the Beast.

Patrick Cassidy

Star of stage and screen, Patrick Cassidy makes his Ogunquit Playhouse debut as Sam. A veteran of Broadway, film and television, Cassidy most recently appeared in A Little Night Music at A.C.T. in San Francisco and starred opposite Patti Lupone in Annie Get Your Gun. He also had the honor of recreating the role his father, Jack Cassidy, originated on Broadway in the Dallas Theater Center’s production of It’s a Bird It’s a Plane It’s Superman. Cassidy won the 2002 National Broadway Theatre Award for Best Actor for his performance in Elton John’s Aida, and was nominated for an Emmy for his performance on the TV Miniseries “Dress Grey.” In addition to his lauded performance as Julian Marsh in 42nd Street, Cassidy originated the role of Balladeer in Stephen Sondheim’s Assassins at Playwright Horizons, and appeared in Lady in the Dark at City Center’s Encores! On television, Cassidy has guest starred on “Law & Order SVU,” “Castle,” “Crossing Jordan,” “Without a Trace,” “According to Jim,” “CSI Miami,” and “ER,” among many others.

Returning to the Ogunquit Playhouse to star as Harry is David Engel, who was last seen at the Playhouse as Gomez in the 2014 hit, The Addams Family. Engel most recently appeared on Broadway in Putting It Together and Seussical, as well as the original production of La Cage aux Folles. Engel created the role of Smudge in the original New York production of Forever Plaid, and again in Plaid Tidings and Forever Plaid: The Movie. In addition to his work on the stage, Engel shared an on-screen romance with RuPaul in the award winning musical short film Zombie Prom.

Fred Inkley stars as Bill in his Ogunquit Playhouse debut after his lauded tenure as Valjean in Broadway’s Les Miserables. Inkley received a Helen Hayes and Jeff Awards nomination for his performance as Beast in Disney’s Beauty and the Beast, as well as a Jeff Award nomination for his touring performance as Valjean in Les Miserables. Inkley appeared as a Guest Artist for the Boston Pops in 2013.

Box Office: 207.646.5511

ogunquitplayhouse.org

 

 

Talking With Stephan Pastis The Creator Of Pearls Before Swine And Author of the Timmy Failure Books

By Bobby Franklin

Stephan Pastis
(Photo: Bobby Franklin)

Stephan Pastis is the creator of the very popular comic strip Pearls Before Swine that he has been drawing for sixteen years and now appears in 750 newspapers worldwide. The lawyer turned cartoonist’s latest book is Pearls Hogs The Road: A Pearls Before Swine Treasury. He is also the author of the Timmy Failure books that are now going to be turned into a movie by Disney. His characters Rat, Pig, Goat, Guard Duck, The Crocs, and many others are irreverent and funny. Judging by the very large crowd that gathered at the Brookline Booksmith in Coolidge Corner, MA to watch him give a presentation and do a book signing he is extremely popular, and that popularity extends to all age groups. I had a chance to speak with Mr. Pastis before his appearance.

“I think most (cartoonists) have a background in art. I don’t have any and I think that’s probably unusual.”

I begin by asking him if he is self-taught, he replies “Yes. Well, I don’t know what school you would go to for cartooning, but I didn’t. I think most (cartoonists) have a background in art. I don’t have any and I think that’s probably unusual.”

Mr. Pastis started drawing as a kid. He tells me, “I guess we all draw at a certain age.” When I ask him if he was good at it he responds, “I was never really good at it. I still don’t see myself as very good at it. I really struggle with the art, and I think the only reason I have a career is because of the writing. If it was because of the art I’d be in trouble.”

With a character like Rat leading the cast in Pearls I ask if many people take offense to his work. “Yeah, for sure. They’re rare, maybe one out of a hundred, but they’re certainly the most fun.”

Later in the evening I find out just how much fun he has with them. During the presentation, he gives examples of messages he has received from people and organizations that were not happy with a particular strip. These range from the International Polka Association to the Turkish Embassy. In true Rat like manner he has an answer for all of them. And his responses are all hilarious. For example, in an apology his publishers drafted for the Turkish Embassy the Greek American Pastis, he ask that they add a P.S. asking that Turkey give Cyprus back. Guard Duck may have to work on that one.

Drawing a comic strip that appears seven days a week has to be a daunting task. I ask if he writes one a day. “Two days a week I do three, two days a week I do two, Monday through Thursday. I’m six months ahead. Probably five and a half when I get home (from the book tour) which makes me scared.”

Writer’s block can be a problem but it never slows Mr. Pastis down. He tells me “…if that happens I switch to something else. Promotional stuff, or Timmy, or the movie I’m working on. I always have some other project I can go to. Just not being able to write doesn’t stop the train entirely.”

Before he had a career as a cartoonist he got to meet Charles Schulz. When he quit being a lawyer he took a part time job at the Schulz Museum where he helped them with their licensing. Eventually, he went onto the board of the museum. Mr. Pastis tells me, “…I wrote the first animated special made without Charles Schulz called Happiness Is A Warm Blanket Charlie Brown.”

Our conversation turns back to Pearls Before Swine and I ask, “Is Rat you?” Mr. Pastis tells me, “Yeah, they’re all me. I think Rat is more me than the others, but they’re all me.” How old is Rat? “I’ve never really said. He doesn’t have an age. None of them do.”

As to how he decides what characters to use each day, “I don’t really think about that. I’ll look back on a time when I do nothing but Rat. It’s probably a time when I’m angrier and more stressed, and then when I’m vulnerable and fail at something I imagine Pig predominates more.

”I’ll look back on a time when I do nothing but Rat. It’s probably a time when I’m angrier and more stressed…”

The Crocs, which are almost a whole different comic strip just came to Mr. Pastis one night. He says, “It was just a weird middle of the night idea that struck me as funny.” Fortunately, he keeps a pad and pen by his bedside so he is able to save these ideas.

Often times in the strip one or a number of the characters will confront Mr. Pastis and get on his case. This leads me to ask if there is some self-loathing going on? At this he shouts over to his publicist who is in the room with us, “Tracy, Do I have some self-loathing going on?” Tracy laughs and responds, “With good reason.” Pastis says, “It’s fun to have them make fun of you.”

He goes on to tell me something I had not thought of but when he says it I have to agree, “People don’t want to see a strip where people succeed. They want to see losers. They want to look down on them. All comic strips are created on losers. Calvin, Peanuts, Bloom County, Doonesbury.”

Before becoming successful as a cartoonist Mr. Pastis had a career in law. When I ask about it he responds rapid fire, “Yeah, ten years. Litigation. San Francisco. Insurance defense. Never liked it. Bad job. Don’t do it.” He then laughs and says, “I’d like to see how that prints…like ten two word sentences all in a row.” Sounds like a man who enjoys words.

“Take two stick figures, totally unadorned art, three panels, and see if you can make somebody who doesn’t necessarily like you laugh.”

His advice for aspiring cartoonists? “Take two stick figures, totally unadorned art, three panels, and see if you can make somebody who doesn’t necessarily like you laugh. So, don’t show it to your mom. Don’t show it to your best friend. Coworkers are good. Stick figures make it so you don’t rely on the art. It will prove whether or not you can write funny. If you can make that coworker laugh three out of ten times you have a hit. It’s harder than it sounds.”

As I wind up my conversation with the very interesting and talented Stephan Pastis I ask if there is anything he would like to add. Referring to recent Pearls strips where his wife has thrown him out of the house leading many readers to wonder if he was getting a divorce he says, “I’m still married. People always ask that question.” He adds, “I do these Timmy Failure Books which most people know is a series of middle grade books. I’m on the sixth volume. It’s being turned into a movie. Disney bought it.”

Millions of readers look forward to reading Pearls Before Swine each day. I have to admit, I am not a big follower of the comics, but I am one of those people. Once you start you will not be able to stop. If you have the chance to see Stephan Pastis in person I urge you to do so. He is not only a talented cartoonist, but he is also a very, very funny speaker. Rat may take issue with that statement, but that just might be a case of that self-loathing.

Stephan Pastis’s latest book, Pearls Hogs The Road: A Pearls Before Swine Treasury, is published by Andrews McMeel Publishing.

 

 

 

 

 

 

 

Tommy Farr The British Champ Was A Handful For Joe Louis But Never Got A Rematch. Why?

Tommy Farr
The British Champ Was A Handful
For Joe Louis But Never Got A Rematch. Why?

In a recent conversation I had the subject of Joe Louis’s bout against Tommy Farr came up. Farr was Joe’s first opponent after he had won the title by knocking out Jimmy Braddock, and it was expected he would do the same to the Welsh boxer. Tommy surprised everyone by extending Louis for the full fifteen rounds and looking pretty good while doing it.

Tommy Farr

It was Farr’s first fight in the United States. He had earned the title shot by scoring wins over Ben Foord, former champ Max Baer, and Walter Neusel. All of these bouts took place in London. Farr, who was from Tonypandy, Wales was an unknown quantity when he stepped into the ring with Louis on August 30, 1937. While his record was impressive he had not been seen by the American fans. Farr also got off to a bit of a rough start with the American press not being quite up to speed with the wisecracking New York reporters. In the end, and after a four day rain delay, promoter Mike Jacobs was still able to get almost 39,000 fans to show up at Yankee Stadium for the bout.

Farr vs Louis

It turned out there was much more to Tommy Farr than expected. The Welshman turned in an excellent performance keeping Joe off balance with an educated left hand and and good combinations. He even rocked the champion a couple of times. He did something that was rarely seen against Joe Louis; he was able to be competitive with the left jab. Evidence of this can be seen in photos of Louis taken after the bout where his right eye is quite swollen. Of course, the Brown Bomber did pretty well with his own jab busting up both of Farr’s eyes, and in the end Joe won a unanimous decision,

There are fight fans who insist Tommy was robbed that night, but in watching clips of the fight and reading accounts of it I have no doubt Joe Louis deserved the decision. Even Farr never complained about it. But Tommy certainly showed himself to not only be a very tough and courageous fighter, he also proved to be quite the skilled boxer who was the ultimate professional. He remained cool and composed throughout the fight. While Louis won by a fairly comfortable margin, many of the rounds were close.

So, the question that is often asked is why didn’t Farr get another shot at the title? I’ve heard it said that Joe’s management wanted nothing to do with Farr after having seen Joe extended by him. I don’t buy that. I am confident Louis would have gladly given him a rematch.

Braddock vs Farr

Now this is where things get a bit interesting. After the Louis fight Tommy remained in the states, and five months later he fought Jimmy Braddock. Farr lost a close and controversial decision to the former champ in what would be Braddock’s last bout. Not long after this Farr, wth prodding from promoter Mike Jacobs, took on Joe Gould as his manager. The very same Joe Gould who also managed Jimmy Braddock.

I recently read Tommy Farr’s autobiography, a very enjoyable book, and in it he talks about how, with Gould’s encouragement, he traveled to Hollywood where he started partying with the big names in the movie industry. He spent time at the home of Bing Crosby. Became friends with Clark Gable and Victor McLaglen and many others. He even spent time with the ten year old Shirley Temple who wanted to hear all about the Louis fight.

Farr also made some lady friends while out west. He would arrive at a bar frequented by many of these stars early in the evening so as not to miss out on having time with them. I’m sure he wasn’t sitting there drinking ice water. Now, why on Earth would a fight manager want his charge spending time living it up, especially after he had become a hot commodity off of his great performance against Louis? Farr should have and could have returned to Great Britain where he would have received a hero’s welcome, racked up a number of wins, and worked himself back into another shot at Louis for a big payday. Most people agreed he was robbed against Braddock, so that would not have been an obstacle after he scored a few wins. A second Farr Louis fight would also have been a big attraction.

But instead, he took on Max Baer in a rematch. Farr, who was now not in the best of shape, lost a one sided decision against the man he had beaten quite handily just a year earlier. Max dropped him three times in the fight. He then lost decisions to Lou Nova and Red Burman. After these losses Tommy returned to Britain never to fight in the United States again.

Tommy Farr with Family

In the course of a year the Welshman went from giving one of the greatest Heavyweight Champions the fight of his life to being handed the proverbial one way ticket to Palookaville. He had ended his relationship with the man, Joby Churchill, who had been with him from the beginning of his career and took up with a man, Joe Gould, whose now retired fighter, Braddock, owned ten percent of Joe Louis’s future purses. (The agreement with the Louis camp struck in order for Joe to get a title shot at Braddock). Gould now sends his new fighter off to the land of wine, women, and song instead of getting him into serious training for a campaign at another shot at the title.

Here’s my theory for why all that went on. While Louis and his team had no fear of losing a rematch with Farr, and knowing how Joe was, he most likely would have welcomed another go at it with Tommy. Joe Gould was afraid Farr may pull off an upset in a rematch. If that were to happen it would be a heavy financial hit for Braddock, and probably Gould. Joe Gould had a great motive for seeing Farr was removed form the picture, and I believe that is why he led Tommy down the road of self destruction.

Tommy Farr was a terrific boxer. A brave and dedicated fighter who deserved better. He showed what he was made of against Louis. It was his misfortune to have walked into the lion’s den. His great showing against Louis turned out to be a liability for him.

Farr would have just a few more fights in his homeland before WWII broke out. In 1950, in need of money, he made an ill advised comeback. The Tommy Farr story should have had a much happier ending. Instead, it is just another one in a long list of boxing tragedies. https https

Hershey Felder Returns to Hartford Stage in Our Great Tchaikovsky

Limited Engagement!
Only 11 Performances –August 19-27

Performer/Creator of George Gershwin Alone;
Director and Adaptor of The Pianist of Willesden Lane

Hartford Stage will present Our Great Tchaikovsky, a celebration of the famed Russian composer, written and performed by internationally-acclaimed pianist, actor and playwright Hershey Felder, for a limited one-week engagement – August 19 through 27.

The Chicago Sun Times raved, “The quadruple threat performer Hershey Felder is an actor, singer, pianist and writer, and all of the first order.” After its record-breaking world premiere at the San Diego Repertory Theatre, the San Diego Union-Tribune called it, “A powerful, emotional experience well worth seeing.”

Our Great Tchaikovsky marks Felder’s return to Hartford Stage. His previous productions include George Gershwin Alone in 2004 and Monsieur Chopin in 2006. Most recently, he adapted and directed The Pianist of Willesden Lane in 2015.

With direction by longtime collaborator Trevor Hay (Hershey Felder as Irving Berlin), Our Great Tchaikovsky celebrates Russia’s most beloved and mysterious composer in a time-bending story of culture and politics.

Among Piotr Ilyich Tchaikovsky’s masterworks included in the show are the ballets Sleeping Beauty, Swan Lake, and The Nutcracker; concerto pieces Violin Concerto, Piano Concerto no. 1 and Rococo Variations for Cello; the opera Eugene Onegin; orchestral pieces Romeo and Juliet, the 1812 Overture and Marche Slav; and Symphony No. 6, Pathétique. Just nine days after Tchaikovsky conducted the premiere of Pathétique in St. Petersburg, he died suddenly at the age of 53. Our Great Tchaikovsky explores the mystery surrounding his death while paying homage to the composer and his music.

Felder has played over 4,500 performances of his self-created solo productions at some of the world’s most prestigious theatres and has consistently broken box office records. Maestro, Felder’s tribute to the life and work of composer-conductor Leonard Bernstein, was recognized as a Top 10 Play and Musical by TIME magazine last year. His other shows include: George Gershwin Alone (Broadway’s Helen Hayes Theatre, West End’s Duchess Theatre); Monsieur Chopin; Beethoven; Franz Liszt in Musik; and Lincoln: An American Story. Future productions include the new musical, Chosen by G-d, for which he is writing music, book and lyrics. Felder’s compositions and recordings include Aliyah; Concerto for Piano and Orchestra; Fairytale, a musical; Les Anges de Paris; Suite for Violin and Piano; Song Settings; Saltimbanques for Piano and Orchestra; Etudes Thematiques for Piano; and An American Story for Actor and Orchestra. Felder is the adaptor, director and designer for The Pianist of Willesden Lane; producer and designer for the new musical Louis and Keely: ‘Live’ at the Sahara, directed by Taylor Hackford; and writer and director for the upcoming Flying Solo, featuring opera legend Nathan Gunn.

In addition to direction by Hay and scenic design by Felder, the creative team includes Costume Designer Abigail Caywood; Lighting and Projections Designer Christopher Ash; Sound Designer Erik Carstensen; and Research and Dramaturgy by Meghan Maiya. Our Great Tchaikovsky is produced by Samantha F. Voxakis, Karen Racanelli and Erik Carstensen.

hartfordstage.org     Box Office: 860-527-5151

 

Simply Beautiful

The Bridges of Madison County
At The SpeakEasy Stage

Now through June 3rd

Reviewed by Bobby Franklin

By the end of this production of The Bridges of Madison County, produced by the SpeakEasy Stage and playing at the Calderwood Pavillon, there wasn’t a dry eye in the house. This is not to say the audience is left feeling sad or unhappy. No, touched is the word that best describes the feeling one leaves the theater with after seeing this exquisite production.

Francesca and Robert
(Photo Credit: Glenn Perry Photography)

The story of the Italian war bride, Francesca, who married and settled in Iowa with her husband Bud where they are raising two children, and her four day affair with a photographer, Robert, is familiar to most people due to the popularity of the book and movie. This in no way diminishes the impact of this musical version of the story.

Jennifer Ellis as Francesca is nothing short of superb…

Jennifer Ellis as Francesca is nothing short of superb bringing one of the most beautiful voices you will hear on a theater stage today as well as the ability to reach the audience with her full range of emotions. Her perfectly underrated Italian accent is right on the mark. This will come as no surprise to those who had seen her in the SpeakEasy production of Far From Heaven or as Eliza Dolittle in The Lyric Stage’s My Fair Lady. Ms Ellis is a joy to behold.

The chemistry between Francesca and Robert, played with a slight ambiguity by the very talented Christiaan Smith, is strong both physically and emotionally. I mention ambiguity because as much as it appears these two star crossed lovers could run off and live happily ever after I was left with the feeling that the very thing that made Robert so exciting was also the thing that would not have made him a good fit for marriage and settling down.

Bud, Robert, Francesca
(Photo Credit: Glenn Perry Photography)

The affair which takes place while husband Bud (Christopher Chew) and children Carolyn (Katie Elinoff) and Michael (Nick Siccone) are off to the state fair could be seen as sordid, but the story is much more than that. Mr. Chew is wonderful in playing the hard working farmer who provides a good home for his family. There is no doubt Francesca loves all of them, but she also yearns for the life she never got to live in Naples. A yearning that is triggered by the emotional scene where Robert shows her the issue of National Geographic containing photos he took of the city she was raised in.

The emotional turmoil raised by this allows us to feel compassion for her even while we feel bad for Bud. In the phone calls to home while Bud and the kids are on the road, we know that Bud begins to suspect something but never digs for answers. Mr. Chew conveys a pain with his eyes that is touching and could easily have us turn on Francesca for what she is doing. But there is much to this story and much to be sympathetic about when it comes to all the characters.

Marge and Charlie
(Photo Credit: Glenn Perry Photography)

Nosey neighbor Marge (Kerry A. Dowling) and her husband Charlie (Will McGarrahan) are very funny while also showing a depth of understanding that coveys sincere kindness. Marge may appear to be a gossip but she knows how to keep a secret. She also begins to question her own marriage. Charlie who at first appears to be detached is actually quite understanding. McGarrahan and Dowling are a delight.

The score by Jason Robert Brown is wide ranging and beautiful. At times operatic, it is performed by a seven piece orchestra led by Matthew Stern. I am no musician, but I can assure you they are just great.

The lighting design by Annie Weigand plays a big part in this production. Stars, clouds, blue skies, and even streaks of light representing the bombing of Naples during the war projected onto the backdrop are both subtle and extremely effective. The set designed by Cameron Anderson is simple, tasteful, very pleasing and warm.

The chemistry between Francesca and Robert…is strong both physically and emotionally.

I highly recommend this very fine work directed by M. Bevin O’Gara. This is the last play of the 2016-2017 season at the SpeakEasy and they couldn’t have closed on a higher note. The Bridges of Madison County will leave you both happy and sad, but you will be very pleased to have seen such a solid work.

Now through June 3rd at the Calderwood Pavillon, Boston Center for the Arts, Boston’s South End. www.speakeasystage.com 617.933.8600

Abba Dabba Do!

Mamma Mia! Is Great Fun In Ogunquit!

Mamma Mia!
Through July 1st
The Ogunquit Playhouse

Reviewed by Bobby Franklin

Angie Schworer, Jodie Langel, Kate Chapman, and Cast
(Photo: Gary Ng)

You know summer will soon be here when the stage at the Ogunquit Playhouse raises its curtain for a new season. And this year for their 85th anniversary they have kicked it off with the very popular jukebox musical Mamma Mia! With an energetic cast led by Jodie Langel as Donna and Patrick Cassidy as Sam it is a fun evening of music and laughs that has the audience on its feet singing and dancing along.

 

The story about Sophie (Briana Rapa), Donna’s daughter who was born out of wedlock twenty-one years earlier, takes place as she is preparing for her wedding day in Greece where she lives with her mother Donna who runs a local taverna. Sophie desperately wants to find out who her father is and has, by peeking into her mother’s diary, narrowed the possibility down to three men all of whom she invites to the wedding. This leads to some confusion and much laughter as she tries to figure out which of the three is dad.

…an evening filled with laughs, music, and great dancing…

The story is a great vehicle for the music of Abba, and that is what it was written to be. But this is not an Abba tribute show. It is an evening filled with laughs, music, and great dancing, all set on a beautiful stage meant to be the Greek seaside. The story is fun and touching, filled with vivid colors and loaded with energy. Those colors and the changing sets along with beautiful lighting, had me feeling the sea breezes of the Mediterranean. Of course, it helps being within a stone’s throw of Ogunquit Beach.

Oh, did I mention this is fun? The music is fun, the dancing is fun, the story is fun. Seeing dancers performing wearing huge yellow swim fins is, well, fun. There are so many moments like that. The Playhouse has given us all a welcome to summer gift.

Brianna Rapa, Mike Heslin, and Cast
(Photo: Gary Ng)

This is not Chekov or O’Neil, and you won’t leave the theater contemplating the mysteries of life. It is simply a nice story that will have you feeling good. You will  leave the theater feeling happy, with a lot of music dancing in your ears. After an evening of Mamma Mia! at the Ogunquit Playhouse you will be more than ready for summer. This is a production that calls out “Take A Chance On Me”, and will have you saying,”Thank You For The Music”.

Mamma Mia!
Through July 1st
The Ogunquit Playhouse, 207.646.5511
Ogunquit Maine
ogunquitplayhouse.org

Camelot at the Lyric Stage

A Bright Shining Moment 

Camelot

Directed by Spiro Veloudos

The Lyric Stage, Boston

Through June 25th

Reviewed by Bobby Franklin

Ed Hoopman and Maritza Bostic
(Photo Credit: Mark S. Howard)

As Camelot ends King Arthur tells Tom of Warick to run from the battle so he may live and “Ask every person if he’s heard the story, and tell him strong and clear if he has not.” And that story, the legend of Camelot, is what is given to us in the Lyric Stage’s current production of the Lerner and Loewe classic.

On a beautiful multi-level set that gives the feel of a haunted forest with serpent like trees that appear to be watching the events that unfold, we are treated to a story, the story, that young Tom has passed down through the years. We, the audience, feel as if we are seated by a campfire while the tale is related to us by Arthur, Guenevere, Lancelot, Mordred, and the Knights and Ladies of the Court of King Arthur.

This has been called a “stripped down production”, but I would call it an enhanced work. It is no secret the original Camelot was too long. Shortening it was a challenge from the beginning, and this adaptation by David Lee finally meets that challenge. All of the songs are here, the story is complete, and it moves along seamlessly. Director Spiro Veloudos adds his magic touch to bring it all together for an evening of theatre that will not be forgotten.

Don’t let this brief shining moment pass you by.

The cast led by Ed Hoopman as Arthur speaks in naturalistic voices, so don’t plan on hearing imitations of Burton and Andrews. Hoopman’s voice is rich and smooth connoting the kindness and humanity of the King who wished for a society that was just and fair. Maritza Bostic as Guenevere is lovely and warm with a voice that captivates. It is hard to lose with this score, but with so many people familiar with the original cast album ears may be programmed to hear something else. What is great is how the actor’s make this their own version, and it is a great one.

Ed Hoopman, Jared Troilo, Maritza Bostic
(Photo Credit: Mark S. Howard)

Jared Troilo, who is a familiar face to Boston theatre goers, takes on the part of the brash Lancelot. Troilo’s rendition of If Ever I Would Leave You is positively wonderful. It had to be a challenge.

I have to say that Rory Boyd’s Mordred is truly amazing. His name alone cues us to expect an evil character, but Boyd manages to move him into more of a grey area. He certainly brings a great energy and just enough ambiguity to the role to make one possibly feel a bit of sympathy for him Mordred, and that is something I doubt has been seen before.

What makes this production so special is the intimacy. Not only is it warm because it is set in a small theater, but it feels the players have invited us to sit by the campfire and hear their stories. It is oh so captivating.

What makes this production so special is the intimacy.

Accompanied by an eight piece orchestra, the cast, who work without amplification, fill the theatre with beautiful sounds. There is not a bad seat in the house, and in this age of an over reliance on electronics it is a pleasure to hear such lovely voices going directly to our ears. It is one of the many things that makes the Lyric Stage so special.

I am sure tickets for this run will sell fast, so don’t wait. Don’t let this brief shining moment pass you by.

Camelot Through June 25th
The Lyric Stage, Copley Square, Boston
lyricstage.com 617.585.5678

Jess Willard, The Reluctant Giant

Jess Willard: Heavyweight Champion of the World

by Arly Allen with the assistance of James Willard Mace

McFarland Publishing
300 pp. $35.00

Reviewed by Bobby Franklin

Not a lot has been written about Jess Willard. Part of the reason for that is because his championship reign was bookended by two champions who not only are considered all time greats, but who were also very colorful figures. It is unfortunate the Willard story has not been told as it is a very interesting one. That oversight has now been rectified with the very detailed account of the Pottawatomie Giant’s life written by Arly Allen. Mr. Allen was fortunate to have had the assistance of Mr. Willard’s grandson James Willard Mace. He also had access to Jess Willard’s unpublished autobiography. The result is a lively story about a man who, while preferring a peaceful life, was repeatedly finding himself in controversial situations.

Willard only had 22 bouts in his 23 year career, but at least two of those bouts are still argued about by boxing historians to this day. Arly Allen digs deep into the details of both those bouts, the title winning knock out of Jack Johnson and Jess’ loss to Jack Dempsey. Mr. Allen has strong views on both of these fights and he presents plenty of evidence to back up his conclusions. Whether or not he changes minds remains to be seen. He certainly has added much to the discussion. Did Jack Johnson take a dive in the 26th round of the bout in Havana? Were Jack Dempsey’s gloves loaded in Toledo? There isn’t a boxing historian on the planet who doesn’t have an opinion on these controversies. Agree or not, they should all enjoy reading this book.

Johnson vs Willard

Jess was born in Kansas in 1881. The young Willard was tall and lanky and was an excellent athlete who excelled at swimming and running. He was also an excellent horseman. The easy going Kansan hardly seemed the type to go in for boxing. In fact, he didn’t really care for the sport, but did get caught up in the search for a Great White Hope to defeat Jack Johnson. Willard’s size, six foot six and a half coupled with his agility got him noticed. His lack of a killer instinct was also picked up on. It seems Jess found it difficult to throw the full force of his body into punches unless he was hit hard first. He also had an aversion to fighting men smaller than he was as he was afraid he would cause them serious harm. Indeed, Willard did kill a man in the ring. His bout with another big man, William “Bull” Young ended in tragedy when Young died the day after his fight with Jess. Willard was devastated by this event but continued to pursue a career in boxing.

The Jess Willard story is a fascinating one.

Mr. Allen’s research comes up with many interesting facts about Willard’s life. He was repeatedly ending up in court  because of boxing in places where the sport was illegal or not clearly defined, because of financial disputes, and the Young situation where he was charged with manslaughter of which he was acquitted. It becomes clear that Jess was an honest man who, and with good reason, didn’t trust anyone around him. This distrust led him to enter the ring against Jack Dempsey without having solid people in his corner to watch out for him. If he had, the results of that bout may have been different.

In an interesting story leading up to the Dempsey fight Mr. Allen relates how there were three people who thought Jess might very possibly kill Jack that afternoon in the ring. They were Jess, Tex Rickard, and Jack Dempsey himself. Jack wouldn’t make eye contact with Willard when he entered the ring. There is much more and it is all very thought provoking.

From the time Jess won the title in 1915 until his loss to Dempsey in 1919 he only defended the title one time. He did, however, make quite a bit of money by making personal appearances, putting on exhibitions, and investing in a traveling circus. Willard made and lost fortunes over his life time.

Jess Willard

Willard’s blunt manner often got him into trouble. Mr. Allen relates the time Jess was booked for an appearance in Boston. He was to be paid $2,000.00 for one evening, a very substantial amount of money for that time. His visit also coincided with the running of the Boston Marathon. When Jess was asked to appear at the finish line he refused saying that if people wanted to see him they would have to pay. Needless to say, this left a bad taste in the mouths of Bostonians and only a small crowd showed up for his paid appearance. There is a similar story regarding Jess and Harry Houdini. These tales all make for fascinating reading.

There is much for boxing historians to learn from Mr. Allen’s well written book. For instance, I knew that the actor Victor McLaglen had fought Jack Johnson in an exhibition bout when Johnson was champion. I did not know that he also once boxed Bob Fitzsimmons and that he went four rounds with Willard.

The Jess Willard story is a fascinating one. He was a decent man who managed to get the public to turn hot and cold for and against him. He always felt he could beat Dempsey and even when nearing the age of forty he campaigned for a rematch. That bout would have happened if he had not been stopped by Luis Firpo. An interesting note, the Firpo bout was held at Boyle’s Thirty Acres in New Jersey, the site of the Dempsey v Carpentier bout. The fight drew nearly 100,000 people, approximately 10,000 more than the Dempsey / Carpentier fight. Willard received nearly $210,000.00 for the fight. That is an astronomical amount for the time.

There is so much more to this book. Willard was champ during WW I and during flu epidemic. The stories of his real estate and farming investments, his sixty year marriage to Hattie and the lovely family they raised all make for fascinating reading. Jess Willard deserves the attention of boxing fans and this book is the place to start. He was not just the guy who held the title between Johnson and Dempsey. He was a deeply interesting man.

Cup of Kindness, a story by Len Abram

 

For auld lang syne, my dear, For auld lang syne,
We’ll tak a cup o’ kindness yet, For auld lang syne.

– Robert Burns

Andy McGrath dreaded the call from Aunt Florence. In April, newspapers alerted local New Englanders to the first Red Sox game of the season. With the team world champions at last, the story was often above the fold on the sports page. There was little chance that Aunt Flo in Naples, Florida, missed it.

As they aged, his father’s siblings fled Massachusetts like migratory birds. Florida got two, including Aunt Florence, Arizona two more, and Andy’s father, with his mother, went to North Carolina, a retirement community in Asheville. All except Uncle Jack. Ever since a stroke a decade ago, he was in elderly housing outside of Great Barrington in the Berkshires. He was a retired school principal, a widower with two kids settled in Michigan and Nevada. Except for Andy, he was the last of the family in their home state.

Twice a year, fall and spring, Andy’s parents made sure they visited Uncle Jack. In their absence, Flo appointed Andy delegate. Andy complained to his wife about the choice. He was always busy. The drive was long, about six hours round trip, and once there, he had little in common with his uncle. Andy carried a calendar binder, fluttering with post-its like little yellow wings, his cell phone going off into the evening. He had expanded his father’s insurance company and competed against the big guys, as he called them, with personal service.

Success had its price, he often told his family, and the price was time.

Success had its price, he often told his family, and the price was time.
Aunt Flo called twice. “Andrew, call me back. Uncle Jack,” was her message, with unconscious rhyme. He knew her shaky voice, which sometimes rose to a shout to bridge the distance. She was well over 90, the oldest of the family, an exile from snow-belt Worcester. Along with a husband in nursing home nearby, she had kids, retired themselves. For years, she wintered in Florida, escaping frosted windows and glazed sidewalks. Now she stayed year round in Gatorland, as she called it with mild contempt. She missed New England. Its stony soil was part of family history.

“You let me know how he is,” she said when he called. “He don’t sound so great.” She corrected herself. “Since the shock, it’s hard to know.”

“Why is the April visit so important? Opening day for the Red Sox?,” asked Andy.
“Something to do with the war. That’s what he said. We learned never to ask after that.”
“Weren’t you curious about what sets him off?”
“Jack’s had a tendency toward sadness, depression, whatever you call it, since a kid. It’s his nature.” “So no one really knows.”

“He’s private about his life, although kind hearted. He loaned your father the money to start the insurance agency.”

“Really? Dad never told me.”

“In World War II, Jack was in the Army and your Dad, the Navy. Do you know, Jack was supposed to go to Normandy, the invasion, but broke his leg? After the war, all those boys came back restless.

The war took years from them and worse.

The war took years from them and worse. Jack went to college on the GI Bill.

“Your father wanted to go into business right away. Selling insurance was fine after three years on an aircraft carrier. Your father paid him back, no interest of course.”

“We did go up to see Jack this Thanksgiving,” said Andy. “Liz and I took Gerry, our teenager. Turkey at the Red Robin Inn in Stockbridge.”

“How nice. Jack loves kids. Too bad his own and the grandkids live so far.”

“And the last time Dad and Mom went up, in April, “added Andy, “I tagged along. I hadn’t seen Uncle Jack in years.”

“How was he then?”

“He seemed sad. We cheered him up some. Hard to tell because Dad told him about North Carolina. They said goodbye like it was the last time.”

“I wish I was nearer,” said Flo. “Why April and baseball make him sad, like I said, I don’t know. Especially now, World champions. Reason not the need, somebody said.”

Andy looked through his calendar. He complained again to Liz about the long drive. He mentioned the beige bottles of pills on Uncle Jack’s nightstand that seemed to reproduce themselves, there were so many. Liz said, “Andy, there are couple on your dresser too. Honey, you’re afraid of growing old. We all are.”

Andy left on a bright Saturday morning. He listened to radio shows about the economy and gardening on the ride up. With traffic light, he made good time. Spring in the Berkshires, he noted, is fickle: the winds from the mountains, gullies still packed with snow, feel like winter, but the sun warmed the car like a greenhouse. Andy stopped at the senior center gate and signed in for the day. Uncle Jack lived in a complex of one bedroom, assisted living apartments, with ramps up to the front door. Uncle Jack called it assistant living since he depended on a large Haitian woman, Matilde, called Mattie, to look after him a few hours a day. Mattie helped Jack get ready and then left for the day.

Uncle Jack had a new blue walker with hand brakes, a basket, and a seat when he got tired. Jack maneuvered himself into the car, while Andy put the walker in the trunk. Jack spoke carefully, making sure his mouth made the sound his mind commanded. When he walked with a cane, he pulled his left side along to keep up with the rest of his body.

They drove to Stockbridge, through the street made famous by Norman Rockwell paintings, and ate at an American restaurant; the area was full of Asian or continental restaurants for the summer crowds, but this one served one of Uncle Jack’s favorites: franks and beans, brown bread, coleslaw, hot mustard, and beer. Andy cut up his own franks first and exchanged dishes with Jack. They didn’t talk while they ate. Uncle Jack had a hard enough time chewing and swallowing. There was a large TV over the bar with 24-hour news. The diners paid little attention to the catastrophes and politics in the background.

On the way back, Jack handed Andy a list of things he needed. While Jack waited, Andy stopped at the hardware store to get a new shade for the bedroom. He next went to the grocery. Jack liked canned soups, special ones with less salt. Andy added a large bag of popcorn, a half gallon of harlequin ice cream and a large bottle of Coke. He wouldn’t take any money from Jack, who protested.

“I really don’t like it when you pay. Take this,” Jack said, putting a bill in his hand. “You’re good boy, Andy.” “Uncle Jack, you’re the last person on the planet who thinks I’m a boy.”

They laughed. Andy wedged the ice cream into the Jack’s small freezer, poured the Cokes, and opened the popcorn. They watched a baseball game and snacked. The Sox were not playing, so they watched another team, Baltimore.

Around the sixth inning, Andy prepared his exit. He was feeling good. He had cheered the old man up, it seemed, and could report so to Flo and his parents. The sun was setting through the living room window, the rays sliced by the venetian blinds. He was about to look at his watch, say how quick the afternoon had gone, and mention the three hour ride back to Arlington, until Uncle Jack spoke.

“Andy. I appreciate you coming up here. And your family for Thanksgiving. It gets a little lonely out here. I’d be mad as hell at winter if she weren’t so beautiful.”

“Flo always reminds me just in case. She told me about you and Dad in the war.”

“It’s one of the reasons,”said Uncle Jack with a sigh,” I looked forward to seeing you. I’ve been thinking about the war lately, well, more than usual. Something I have to do.”

“Flo said you were hurt in the war.”

“Yes,” said Uncle Jack. “Nothing much. We were training for the invasion. I broke an ankle jumping off the back of a truck in England. In the dark, I didn’t see the drop. May 1944. Maybe saved my life.”

“Why do you say that?”

“Because my unit never got off Omaha beach,” Uncle Jack shook his head. “Most were killed or wounded. Do you know about Normandy?”

“I grew up in the 1950s. We had streets named for Normandy, St. Lo, and Pointe du Hoc.” “Were you in the army, Andy?”
“Low score on the draft lottery. No, sir.”
“Have you seen this movie? Saving Ryan?”

“Saving Private Ryan, Uncle Jack? Yes.” said Andy.
“Sorry. Private. Yes. Lots of vets here went to see it. I didn’t. They had nightmares. A few weeks ago, it was on the TV. I stayed up and watched. I couldn’t sleep neither.”

Andy surprised himself with the intrusion: “You mind my asking? The battle was in June. Why is April hard on you?”

Uncle Jack took his time. He pointed to pictures on the living room table. Among the family photos was one of a young Uncle Jack in Stuttgart, Germany, an MP in front of rubble. The date was October 1945. A larger picture showed a dozen soldiers in fatigues, rifles and gear. They looked exhausted. The names were in small white letters under each man. The date was February 1944. Andy had seen the picture before, he realized. He had just not wondered how many were alive after June.

Uncle Jack was up and pointing at this picture. In the center of the soldiers was a tall, lean soldier with long, powerful arms and an assuring smile.

“That’s Earl Royce. The best baseball player I ever saw. I went to grade school with Earl,” said Uncle Jack, joining Andy at the table. “When the family lived near Orient Heights in East Boston. I liked to play ball too, fancied myself a pitcher. Earl of course could play everything.

“Even as kids, we loved to watch him. He practiced hitting until his hands bled. The tips of his fingers were as hard as knobs on a bureau. He ran bases after practice until dark. He had great eyesight too. Something like an eagle’s, they said. He could get a piece of any fast ball. They compared him to the great Ted Williams.

“He played one season with a farm club for the Red Sox, in Pennsylvania. The Class A Scranton Red Sox. He got called up to the Boston Red Sox in June 1943, around when he got his draft notice. I got mine too. I went down to Fenway Park to see that one game. He came up to the third base line to talk between innings. He flied out once, a single and a double, as I remember. Two hits at Fenway Park. First time. He’d made it to the big leagues.

“A few weeks later, we went into the Army and basic training at Fort Devens, up in Ayer. We were on the same Liberty ship to England, where we trained more. By the way, with that eyesight, Earl was a great marksman,” said Uncle Jack, chuckling. “I made money betting on his shooting.

“It’s hard to explain. The closeness of a combat unit.

Except for the enemy, these guys might be the last we’d see or would see us.

Except for the enemy, these guys might be the last we’d see or would see us.We practiced night and day. Earl was used to hard training and took it in stride. I struggled. One exercise, we landed on the English coast. I stepped off the landing craft into a wave and seven foot of water and started going to the bottom. Felt like I swallowed half the North Sea. Earl grabbed my belt and dragged me to shore. Many, many guys drowned.”

“I remember the opening scene of the movie. That happened too,” said Andy.

“I made up my mind that I’d back Earl up the way he looked out for me. And there I was in the barracks on D-Day where they left me, with my crutches and cast. I thought I’d feel relief, but I felt I let my buddies down.”

“What happened to them, the guys and Earl?”

“At Normandy? When the ramp of the Higgins boat dropped on the beach, a German machine gunner on a hill raked the boat; out of 36 men, nine lived, wounded. Eddie Talbot and I were the only ones in that picture to survive the war.

“Andy, I know you got to get going. One more favor: in that closet there, check the top shelf. Cardboard box with ‘Royce, E.’ on the side.”

Andy took the box down with the faded stencil and put it on the coffee table. His finger tips were plastered with dust.

“I stayed in touch with Earl’s folks,” said Uncle Jack.”When they died, they left the carton to me. I’d hate to see this tossed out if something happened to me. I want you and Liz to take it.”

Andy opened the box and peeled away crumpled yellowed newspapers. He took out a sheet of cardboard covered in waxed paper and found a small burlap bag. In it, cracked and flattened was a Rawlings Playmakers Fielder’s glove, 1940.

“Not much padding,” said Andy pushing his hand into the stiff leather. “In fact, none.”

“No webbing between the fingers either,” said Uncle Jack. “Earl oiled this glove every couple of days.”

Stacked below the Rawlings were years of yellowed clippings, covering Royce’s baseball excellence, as high schooler, amateur and professional. From the 1943 Boston Herald, Royce’s parents had circled the praise of a sports writer about Earl’s first appearance as a Boston Red Sox. In the bottom of the carton, Andy also felt a round object.

“What’s this? A baseball?” he asked.

Andy unwrapped an 8-ounce glass jar of Maxwell House instant coffee, with a rusty metal lid. It looked like sawdust inside.

“Earl told me,” said Uncle Jack, sitting down, out of breath. “He scooped a cup of Fenway Park dirt before he left the field. Figured he’d always have that.”

Andy got home late, with the box on the seat beside him. He told Liz about the visit and showed Gerry the glove. Liz sealed the newspaper articles and the baseball glove in plastic bags and repacked the box, which Andy put in the den. He showed Liz the jar of dirt from Fenway.

“This reminds me. Right after the Sox won the World Series,” said Liz, “people visited graves with pennants and hats to celebrate the victory with fans, long gone. And Earl Royce never saw them win it either.”

Andy was back at work the next day and from there called Aunt Flo and his father to let them know about Uncle Jack. His father remembered Earl Royce some, but not Aunt Flo. When Andy called Uncle Jack later that morning, Mattie told him that Jack was still sleeping. All the talking wore him out.

One evening, Andy read through all the Earl Royce clippings, some of them flaking into dust. He decided to copy them all on the office printer before they disintegrated further. Then he put the originals back into the plastic bags and stored the box in the front hall closet. Andy had saddle soap for his winter boots. With a soft cloth, he cleaned and polished Royce’s fielder’s glove until it shone.

Andy got busier at work. He kept his current clients and then added a builder with 25 employees. His company provided all kinds of insurance and services for them, including annuities and even dental. Andy had teamed with a national financial services company, which lent him a web user interface for his customers under the McGrath logo, Personal Service. The extra income would come in handy. Gerry was looking at colleges.

Andy called Uncle Jack every week. One weekend in August, Liz and he took Gerry to look at schools in the western part of the state. They had lunch with Jack at the Red Robin Inn and took Mattie along. They talked about the Red Sox making another bid for the pennant and the cool summer they were having in spite of global warming. Neither mentioned Earl Royce or the box in Andy’s closet.

In September, Liz asked Andy to go with her to their HMO. She had had a second mammogram to confirm what the first discovered, a small mass on her left breast. Liz was a nurse, and worked at an elementary school nearby. She knew not to get too worried about a biopsy. The size of a pea, that’s what the doctor said, more likely a calcification, and not a tumor, but if a tumor, more likely benign. Andy caught himself looking at his wife the way he appraised a car or property. She was hardly ever sick and played tennis with women half her age. She could still fit into her clothes from a decade ago. She quit smoking when she got pregnant with Gerry. It was hard for him to think of her ill – and she wasn’t yet, she reminded him.

She cried when they got the diagnosis. He nearly did too. They contained their fears at home not to spook their son. Andy went with Liz to the surgeon, Dr. Lessing, a tall handsome man with a thatch of white hair. He could have stepped out of a hospital brochure. Dr. Lessing operated on Liz week later, the tumor itself and the nearest lymph nodes. He stopped by the waiting room to tell Andy that the lymph nodes looked good, but Liz needed further therapy. Her prognosis was excellent.

“Statistics,” said Dr. Lessing, shaking Andy’s hand again. ”Radiation improves outcome. We just have to check the margins.”

“What that?” asked Andy.
“We look around the tumor for bad cells. We keep at it until they’re gone.”

Liz had two follow-up surgeries before the margins were clear. She was sore around the incisions and her left arm was swollen, but she went back to work. By November, she was ready for the radiation, 30 treatments, the target area tattooed with plus signs by Dr. Lessing. Andy called Uncle Jack to let him know that his family would not visit this Thanksgiving, but he would drive up to see him, as it turned out, for Veterans Day. Liz insisted that he go and sent Uncle Jack a pie she baked.

After lunch, Andy and Uncle Jack went back to Uncle Jack’s home for coffee and Liz’s apple pie. Andy talked about Liz’s recovery and treatment. Jack’s wife had not done so well with the cancer, but that was many years ago, he explained, where treatment had improved so much. Andy changed the subject back to Earl Royce.

He didn’t realize that his son Gerry would take such interest in Earl Royce, his career and life. Gerry, now 16 and as tall as Andy, had been a Red Sox fan for years and played center field for the Arlington High baseball team. He batted .310 last season. Andy discovered that Gerry had placed Earl Royce’s mitt, in its plastic bag, on his bureau. Somewhere on the Internet, the boy had also found a newspaper picture of Earl Royce in a Scranton Red Sox uniform. Andy gave Uncle Jack a copy.

Uncle Jack remembered more details about Earl Royce. He had a girlfriend, Marie Aubuchon. They were engaged or going to get engaged before Earl went overseas. Jack thought he remembered a ring Earl had given her, a diamond chip lost in its setting. After the war, Marie married a returning vet, a guy in the neighborhood, and had lots of kids. They moved out west later, California maybe. Then he lost touch with her.

“I’ll be back in April, Uncle Jack,” said Andy.
“You thank Liz and Gerry for me. And you are a good boy, Andy.”

On the way back, Andy thought about his father’s generation, Uncle Jack, Earl Royce, and the girl who loved him. He also thought about Liz, about a way to celebrate the end of her treatment. When he got home, he suggested a party, for Christmas or New Year’s. Liz had another idea.

“Paris. Never been there and always wanted to. Paris for New Year’s.” “Paris? What about Christmas? We always have it here,” said Andy.

“We’ll leave the day after Christmas and be back in time for Gerry’s school. It’s just four or five days. Andy, I’ve been through a lot.” Liz stopped, and then she finished her sentence.

“Not as much as some, but a lot. Please make it happen.”

Right there, Andy called their travel agent and left phone mail about a trip for three.

“Thanks,” she said. “Very nice of you not to bring up work, the exchange rate, the long flight, and any other reason not to go. Sometimes,” she smiled at him, “you just have to go.”

“Of course,” he said. He always was amazed of how well she knew him. “And another thing.”
“Yes, Liz?”
“Earl Royce. You and Gerry can visit him in Normandy.”

As usual, Liz packed for them all. Along with books about visiting France, Liz noticed Andy reading about World War II and the Normandy battle and taking notes on an index card. It was cold in Paris, Gerry informed them. He calculated from Centigrade to Fahrenheit for them. He also asked if he could bring his Red Sox World Series Pennant and Earl’s glove for visiting the grave. They could not leave anything like a pennant, said a guide book. It was against cemetery rules.

Andy called Uncle Jack about the trip. He said, “Say hello for me, Andy,” and hung up.

The day after Christmas they left, flying out of Boston. They planned their trip on the plane, while Gerry watched a movie on Andy’s laptop. Their hotel was in Montmartre, with a large down feather bed for them and a cot for Gerry, to sleep off their jet lag. The windows ran from the floor to the ceiling and looked out onto a courtyard with shrubs and white stone chips raked into swirls.

For two days, they walked the city, back and forth across the Seine, and covered every open museum. They ate large breakfasts with the hotel restaurant half empty, so close to Christmas. They enjoyed the solitude of the city on holiday. They snacked during the afternoon, but at night found a bistro or restaurant for a full meal. One night they caught an American movie, Gerry’s choice, with French subtitles. Liz left Andy and Gerry for shopping by herself one evening. She’d shop more while Gerry and Andy went to Normandy.

For December 31, their last full day in France, Andy made reservations for a van with a driver, also their guide, to the Normandy beaches and the American Cemetery at Colleville-Sur-Mer. With any luck, they’d be back to share New Year’s Eve with Liz. The family went to bed earlier, although Andy never slept well away from home and was restless.

He woke with one ring from the hotel operator. It was still dark. He saw a sliver of light under the bathroom door and heard Liz in the shower. She came out in her robe, drying her hair.

“Why are you up? Aren’t you shopping along the Champs-Elysees today? “

“I decided to go with you,” she said. “I can shop at the airport. Besides, the van has room. Let’s wake Gerry. He’s sure to be hungry. Always is.”

The van, with seats for eight, had only five, Andy, Liz and Gerry, along with a couple from Toledo, Ohio, Bert and Adele Pellegrini. The last seat was empty. Gerry sprawled there with his backpack for a pillow. The two couples introduced themselves, as did Henri, the driver and guide.

“Il faut du vent, par grand vent,” said Henri. “Normandy is very windy. It is also raining. Conditions are not good, but we will see much. We’ll be there in about three hours, with a few stops.”

Once they slipped Paris traffic and the sun was up, Andy saw the countryside stretch out, winter brown fields, light industry, power plants, orchards and rivers. Gerry was sleeping. Liz nodded off too, something she did often since her treatment. Andy rolled up his extra sweater and put it under her head. The van stopped in the city Caen and the group visited its war museum, and then continued toward the beaches and the cemetery.

“It looks pretty new around here. I mean newer,” said Gerry from the back.

“Much of Caen was destroyed and rebuilt,” said the guide. “Thousands of civilians killed. The British and Canadians fought the Germans here, but the Americans were held back. The hedges, we will see. ”

The windshield wipers worked hard to keep the view from smearing. The Normandy dairy farms were green even in winter, with black-and-white cattle as large as sheds. They grazed, swishing their tails against the annoying rain. Farmers in rubber boots and slickers drove tractors, making furrows in fields for winter wheat, Andy guessed.

Andy smelled the sea first and tapped Liz on the arm. “We’re here,” he said. He was glad she decided to come.

“The hedgerows and sunken roads you see were not far from the beach,” said the guide.”The Germans took away the farmers for factory work. No one cut the hedges. Some grew to two or three meters thick and even five meters high. They became fortifications for the defenders. In July, after more than a month, the Americans broke out. There are 9,378 at the Cemetery, but three times that died to liberate Normandy.”

The parking lot ahead of them was nearly empty because of the holiday and weather. Henri parked under an apple tree bent back by the wind. He marched the group toward the Cemetery. When they saw the expanse of blue ocean and beige beach, they stopped.

Henri spoke above the wind. “Attendez. No cover for hundreds of meters for the soldiers.”

They turned to follow him down a chipped set of stairs into a German bunker, covered with grass and bushes with shell craters on either side. The wind howled through cement casements. The floor was slick and the walls had decades of graffiti. Andy grabbed a rusted rebar for balance and held Liz’s hand. The Pellegrinis held onto each other. Gerry was moving around the enclosed area taking pictures. The group took turns looking out of the firing slit. Its field of fire was the beach.

“One machine gunner fired 12,000 rounds that day,” said Henri.

Henri walked the group out of the bunker, down the path to the gate for the American Cemetery. He stopped.

“By the evening of June 6,” Henri concluded, “the Americans fought to where you are standing. The people of France gave this land to the American people. Down that path, you will find the office for the Cemetery. Stay as long as you like. But I would like to get back in Paris before New Year’s.“

The Pellegrinis, their second time at the Cemetery, already knew where they were going and left. Andy and Liz walked toward the office. Gerry was up ahead with the camera. On either side of the path were rows and rows of Latin crosses, along with Jewish stars. “I’m getting cold,” said Liz. “Let’s find Earl soon.”

They warmed up in the office. The person behind the desk gave them a map and circled where to find the grave of Private Earl Royce. It was a nice spot, she said, and not too far.

“Are you up for this, Liz? You can stay in the office. We’ll take a picture for you.”

“I’m fine, Andy. My arm gets sore if I walk a lot. You know, I can’t shake this feeling that I am meeting a living person after hearing about him for so long. Strange.”

Gerry walked ahead of them snapping pictures. “Gerry, wait up,” said Andy. “We take a right here. It’s at the edge of the cemetery.”

Gerry hadn’t said much since the bunker.
Andy jogged up to his son. “How are feeling?” asked Andy. “OK. It’s a lot, Dad. All these people.”
“Yes, it’s a lot. You’re right.”

Gerry opened his backpack. He took out Earl’s baseball mitt and slipped his hand into it. He hit the pocket with his fist to open it up. With his other hand, he reached into his backpack for the Red Sox Pennant. Then he shouldered the pack.

Earl’s grave was at the end of a row, close enough to the beach to hear the tide coming in. The three of them stood around the cross.

“He was only 19,” said Liz.

“What do we do next?” asked Gerry.

“Just tell him about the Sox, sweetie,” said Liz.

“It feels weird. He’s not really here, is he?” asked Gerry.

“We don’t know that, for sure,” said Andy. “Something of him is. We know why we are here. I think that’s enough.”

Gerry leaned the pennant against the cross and held the glove up.

“Private Earl Royce, 16th Infantry Regiment, 1st Division,” Gerry read off the cross. “This pennant means that your team, the Boston Red Sox, won the World Series. It took a long time. And this here is your glove. I will always keep it and tell folks you were a great player and what you did here. That’s all.”

Liz hugged Gerry. “Nice job, son.” She turned to Andy. “One thing more: we should leave this,” said Liz.

She opened her purse and handed Andy a plastic bag. In it was the jar of dirt Earl Royce collected from Fenway Park.

“What good is it doing in our closet?” Liz asked.

Andy pocketed the bag and gripped the jar. The lid was rusted shut. Andy’s face reddened as he tried to twist off the lid. The light rain did not help his grasp. Liz and Gerry tried too. Andy finally took it back. He knelt on the grass and tapped the lid of the jar lightly on the base of the cross. Then again. The old glass split like a diamond, scattering the dirt. Andy scooped as much as he could in the wind.

“Your hand, Andy,” said Liz.

He nicked his palm on the broken jar and hadn’t noticed. Andy wrapped it in his handkerchief, its white blotched red.

“Dad, you’re wounded,” said Gerry. The three looked at each other, wet and cold, and laughed.

“I hear Earl had a great sense of humor,” said Andy.

Liz got down to help Andy spread the rest of the dirt on the grave. In the rain, the dirt washed away.

Andy got up and took an index card from his jacket pocket. He noticed Gerry standing at attention. He and Liz did too.

“Earl,” said Andy, “your friend Jack McGrath from East Boston says hello. He remembers you to this day. Your parents missed you the rest of their lives. They were always proud of your accomplishments and character. Marie Aubuchon, your girlfriend, after the war, she got married. She had a big family. She named her first son after you.

“You helped win the battle, Earl. Others took this hill. But you and your unit led them to it.

“History and this war stepped in front of your generation, the way the Civil War must have stepped in front of Lincoln’s. It’s not something ordinary people in democracies want – to face dangers for principles.

“There you were – on your way to play baseball, or fix cars, or teach kids, or sell insurance –” “Or get married,” added Liz.

“Yes, get married and watch your kids grow,” said Andy. “The normal things. History interrupted all that and brought you here.

“And you never left. This is what I learned today: Your life stopped so we could go on with ours.

“Thanks, Earl, and to all you others, from us citizens, well done.”

On the ride back to Paris, Henri put the heat and the air conditioner on high to dry their jackets and shoes and warm them up. In the van first aid kit, Liz found Andy peroxide and a band aid for his hand. Andy, Liz and Gerry sat wedged on the back seat. Gerry sat between them with his camera on to show the pictures he had taken that day. Uncle Jack would love to see them, thought Andy. He’d visit his uncle the first weekend after they got back.

The Pellegrinis used their cell phone to wish their family back home a Happy New Year. Andy realized that he had left his own cell back at the hotel. Bert Pellegrini had not noticed that Paris was about six hours ahead of Ohio, where it was mid-afternoon, December 31, but he wished them a good year anyway.

At a rest stop an hour from Paris, Andy bought a bottle of champagne with enough plastic cups for the group, Gerry too. Even Henri, had a little, un peu, s’il vous plait. On the radio, Henri found the BBC playing traditional New Year’s music. Along with the singers and bagpipes, the group joined in with “Auld Lang Syne.” Ahead of them were the lights of Paris. They lifted their plastic cups to toast the newest year.

[Originally published in Final Fenway Fiction, edited by Adam Pachter, 2012, available on Amazon and through other booksellers]

Seaglass Performing Arts Ends Season On A High Note

An Evening of Spirituals and Heavenly Broadway

Performed May 6th at Christ Church
Kennebunk
May 7th at Wells High School Performing Arts Center
Wells

Reviewed by Bobby Franklin

Artistic Director Jean Strazdes has once again raised the bar for the wonderful Seaglass Performing Arts Chorale. Closing out the 2016-2017 Season with a program comprised of spirituals that not only contained traditional music but also included tunes from Broadway, Leonard Cohen, and Carly Simon. It was an exciting and interesting mix that worked so well together.

I took in the Sunday performance at Wells High School, and from the opening number, a medley from Sister Act, the audience knew they were in for an afternoon of wonderful music.

When Seaglass performs you not only get to enjoy the music, but Ms Strazdes also gives background into each song along with short biographies of the composers as well as a brief musical history. For instance, I never knew November 29th was Moses Hogan Day, a day to celebrate and perform spirituals in honor of the composer Moses Hogan. For this concert the group performed one of his arrangements, Music Down In My Soul. Mr. Hogan certainly deserves to be remembered.

Other spirituals included Unclouded Day, Didn’t My Lord Deliver Daniel, My Lord What A Morning, and Down In The River To Pray.

Joe would have been happy with this rendition as the group hit it out of the park.

In addition to the selection from Sister Act, Broadway was represented by Sit Down You’re Rockin’ The Boat from Guys and Dolls. Eric Mihan led this song and had the crowd smiling as he moved about the stage. Jean Stradzes read from an original opening night review of the play that compared it with the professionalism of Joe DiMagio. I think Joltin’ Joe would have been happy with this rendition as the group hit it out of the park.

The second act opened with a medley of Nothin’ Gonna Stumble My Feet and the Carly Simon song Let The River Run. Accompanied by a double bass played by Bob Daigle as well as percussion by MaryCarol Kennedy, Stephanie Sanders, and Dianne Smallidge. All were fabulous.

The second act was strong on Broadway tunes with a spiritual flavor. These included Seasons of Love from Rent, Somewhere from West Side Story, and Make Them Hear You from Ragtime. Leonard Cohen’s Hallelujah with soloist Marilyn Stanley was sublime.

Kim Karchenes accompanied on piano and never missed a note. All of the voices were just beautiful. Seagalss Performing Arts is made up of volunteers, but make no mistake, this is no amateur group. They are all serious musicians who take their art seriously. They work hard so we can enjoy this beautiful music and learn about the rich history behind it. If you haven’t attended a performance yet I urge you to take in the next season. You will be enriched by having done so.

www.seaglassperformingarts.org

You’ll Free Fall For This Wonderful Ripcord

Ripcord

The Huntington Theatre Company

Calderwood Pavillion, South End
Through July 2

Reviewed by Bobby Franklin

Abby is living in an assisted living facility. She is cranky, miserable, and has driven out every roommate that has been paired with her. Marilyn, always upbeat with a sunny disposition, is her latest roommate. Abby wants her out and Marilyn will not leave. The two make a bet with the winner to get her way. This leads to the two of them doing some pretty nasty things to each other. Sounds like pretty depressing stuff? Well, it turns out this is one of the funniest plays you will ever see.

You will love this play!
Nancy E. Carroll
(Photo: T. Charles Erickson)

Nancy E. Carroll is perfect as the cantankerous, miserable, and at times cruel Abby who rarely betrays even a hint of a smile. She is also extremely funny. Annie Golden plays Marilyn who is a Pollyanna, always smiling and seeing the good in everything. Oh, she can play hard when it comes to fighting back against Abby. Both actors play off of each other perfectly. Add to the mix Scotty (Ugo Chukawa) a health aid and also an aspiring actor, who has to deal with these two terrors. Marilyn’s daughter Colleen (Laura Latreille) and son-in-law Derek (Richard Prioleau)  are apples that haven’t fallen far from the tree and you end up with a fast paced work with impeccable comedic timing.

This production has added incidental music along with some very fun dance numbers during set changes. I have not seen Ripcord before but I am sure these additions only enhance it. At the performance I attended the audience loved  these additions.

Cast of Ripcord
(Photo: T. Charles Ericson)

I don’t want to go on too much about what happens here as it will spoil the fun for those of you who decide to see it, and you definitely should head over to the Calderwood for this one. I will tease you a bit with a brief list of things that occur. There is a mugging by a very tall rabbit, a trip through a house of horrors, a skydiving adventure, and much, much more. It is amazing how these situations are staged. The set design, effects, and lighting are all incredible. By intermission youl will be wondering how much more could be left to surprise you. Believe me, there is plenty.

Annie Golden
(Photo: T. Charles Erickson)

Ripcord, by David Lindsay-Abaire,and directed by the wonderful Jessica Stone, as well as being funny is also a deeply moving story about two women who are facing the challenges of growing old and dealing with their pasts. Under all of the laughter we are given much to ponder. There is a touching, sad, and even cruel scene where Abby meets her estranged son Benjamin (Eric T. Miller). Marilyn is also a much deeper character than she seems at first glance. There is pain under her happy exterior. It turns out the two women have a lot  in common. Even with all of the laughter you will be deeply moved by this work. This really is, in the end, a very provocative piece that has us deal with what it is like to age and look back on our lives. It is told with, as I have said, much humor. But, it is a work filled with respect and understanding of these very difficult issues.

This has been a great theatre season in Boston. The Huntington, Lyric, and SpeakEasy have all treated us to some wonderful work these past months. Ripcord is a great way to cap this season. You will love this play! Don’t miss it.

huntingtontheatre.org

617.266.0800

Miles And Miles Of Texas

Asleep At Wheel Swings In Burlington

Asleep At The Wheel

Presented by The Burlington Community Concert Series

Burlington High School, Fogelberg Performing Arts Center

Friday, June 9th

Reviewed by Bobby Franklin

There was no danger of anyone falling asleep at the wheel after this concert.

Western Swing was alive and well at the Burlington High School on Friday night as Asleep at the Wheel took the stage. From the opening notes of Cherokee Maiden, the near capacity crowd knew they were in for a special night of music.

Led by Ray Benson, who is going into his 48th year of performing, the group focused mainly on their specialty, the music of Bob Wills and The Texas Playboys. Mr. Benson was in fine form, but he wasn’t alone. The eight piece band was an array of solid talent, all of whom made it look easy.

Moving from Miles and Miles of Texas right into the classic Route 66 where Katie Shore got to show us that her amazing talent on the fiddle is matched by her wonderful voice. She was also terrific on I’m An Old Cowhand, I Can’t Give You Anything But Love, and I Hear You Talkin’. She and Ray also teamed up for the Johnny Cash classic Big River.

Katie Shore wasn’t the only fiddle player on the stage. She was joined by Dennis Ludiker who was Texas State Fiddle Champion. Dennis also played mandolin (“The biggest little instrument in the world.”). I believe I saw smoke coming from the instruments when Katie and Dennis tore into Tiger Rag. Mr. Ludiker could reign as champ for as long as he wants to. At one point I thought Dave Sanger’s arms were going to fly off as he hit the drums and State of Texas shaped cymbal.

Steel guitarist Eddie Rivers never disappoints. His solo of the classic Teardrop was just beautiful. Eddie also broke out on sax for the onomatopoeic Choo Choo Ch’Boogie. Which also featured Connor Forsyth on keyboard showing us a fine way to play a Steinway.

Ray took time out to remember Guy Clark who passed away in 2016 by singing his beautiful Dublin Blues. It was a touching moment made more so by such a lovely song.

Of course, it would not have been a Texas Playboy night without San Antonio Rose and Faded Love. Eddie Rivers told me whenever he is feeling low he listens to San Antonio Rose. It certainly is great medicine.

Ray Benson was born to perform.

Over the years band members have changed, and somehow Ray is always able to recruit new and amazing talent. Old hands Ray, Eddie Rivers, and drummer Dave Sanger have to enjoy having the new energy that Katie Shore, Connor Forsyth, Dennis Ludiker, Josh Hoag (bass), and Jay Reynolds (saxaphone and clarinet) bring to the group. While Dave and Jay sat towards the back of the stage their presence was right in the forefront. These guys are good.

Ray Benson Friday In Burlington

No AATW concert is compete without Ray’s very special version of Hotrod Lincoln complete with sound effects and Benson’s juggling. It is such fun. Years ago a friend and former member of the band told me Ray Benson was born to perform. I think of how true that comment was every time I see him.

The concert closed out with the audience on its feet having a blast. House of Blue Lights, one of my favorites, was followed by an encore that included Big Balls In Cow Town and, fittingly, the old Roy Rogers song Happy Trails To You with the crowd singing along. One final tune was the Texas Playboy’s Theme.

There was no danger of anyone falling asleep at the wheel after this concert. I’m sure toes are still tapping. I know mine are.

Show Boat at The Reagle Music Theatre In Waltham

Broadway’s Ciarán Sheehan and Boston’s Own Sarah Muirhead headline in

Show Boat

The epic tale of life on the Mississippi

Reagle Music Theatre, July 6-16, 2017 – 8 performances only

Directed and Choreographed by Rachel Bertone

Broadway’s “Phantom,” Ciarán Sheehan, returns to Reagle Music Theatre of Greater Boston to take on the role of GAYLORD RAVENAL in Jerome Kern and Oscar Hammerstein II’s 1927 masterpiece Show Boat.Running from July 6-16 for 8 performances only, Show Boat will also star Boston’s own Sarah Oakes Muirhead (Sunday in the Park with George) as MAGNOLIA HAWKS.  A groundbreaking show when it debuted in 1927, Show Boat continues to touch audiences with timeless themes and unforgettable music.  Rachel Bertone (IRNE Award Winner, Carousel, Wild Party) will direct and choreograph this intimate Goodspeed Musicals version of the production, in creative partnership with Musical Director and Conductor Daniel Rodriguez (Carousel, Barnum).  Original set design by Mike Micucci.  Producing Artistic Director Robert J. Eagle.

“What’s beautiful about the Goodspeed version of Show Boat, that our producer Bob Eagle has procured, is that it focuses very concisely on the themes of loss and love—the themes that bind all of us.” said Rachel Bertone, Director/Choreographer. “The beauty of the theatre, to me, is how it so powerfully reflects our humanity in all its strengths and weaknesses, how it holds a mirror up to who we are so that we might learn something about our own journeys through life. Great writing, like Show Boat, accomplishes this and as a director I feel an almost sacred responsibility to convey these themes with as much truth and integrity to our audiences as I can muster.”

Show Boat is based on Edna Ferber’s bestselling novel, following three generations of the Hawks family on the Cotton Blossom river boat from 1887-1927. The story chronicles the fortunes of naïve Captain’s daughter Magnolia and her troubled husband Gaylord Ravenal, and the lives of the performers, stagehands, and dock workers whose lives are affected by the ever-changing social current along the Mississippi River. Show Boat was the first fully integrated “book musical”, tackling issues of unhappy marriage, miscegenation and racial prejudice. The musical’s classic songs, including “Ol’ Man River, “Only Make Believe,” “Can’t Help Lovin’ Dat Man,” and “You Are Love,” have become mainstays of the Broadway canon.

Performance Schedule:  Thurs, July 6th at 2:00 PM; Friday July 7th at 7:30; Sat, July 8th at 7:30 PM; Sun, July 8th at 2:00 PM; Thurs, July 13th at 2:00 PM; Fri, July 14th at 7:30 PM; Sat, July 15th at 7:30 PM; Sun, July 16th at 2:00 PM.

 www.reaglemusictheatre.com,  781-891-5600, The Reagle Music Theatre, 617 Lexington Street, Waltham, MA).

Jersey Joe and Muhammad

Walcott and Ali
A Contrast

It was a tragic irony that Ali ended up worse off than any of those who came before him.

Muhammad Ali used to enjoy making fun of his predecessors. He would mock them for being punchy. I remember seeing him do this in front of Joe Louis. Ali would put his finger to his nose pressing it flat and then speak while slurring his speech pretending to stumble around on unsteady feet. He would talk about how guys like Louis and the other champs took too many punches, couldn’t box as well as “The Greatest”, and ended up with their brains scrambled. He bragged how that would never happen to him because he was so much smarter and better than they were.

Holmes vs Ali

It was a tragic irony that Ali ended up worse off than any of those who came before him. By the time he was training for the Larry Holmes fight Ali was already showing serious signs of brain damage. Watching interviews and training footage as he was preparing for that bout you can hear him slurring his speech. His coordination was deteriorating as seen in his difficulty hitting the speed bag. Ali was 38 years old at the time and would lose by stoppage to Holmes. It was a sad sight.

Why did this happen to such a great “boxer”? Let’s compare him to another former champ who was still fighting when he was in his late 30s; Jersey Joe Walcott.

Jersey Joe was 37 years old when he won the Heavyweight Championship by knocking out Ezzard Charles. He would defend it against Charles before going on to lose it to Rocky Marciano in a fight in which Walcott was leading on the scorecards when he was kayoed in the 13th round.

Walcott also had given Joe Louis more than he could handle a few years earlier when he lost a highly disputed decision to the Brown Bomber. He dropped Louis twice in that bout. Louis would win a rematch by knockout, but not before hitting the canvas one more time.

Jersey Joe was a master of the Art of Boxing.

Ali got a lot of laughs making fun of the greats of the past. He not only went after them for supposedly being punchy, but he also demeaned their skills. Well, if Walcott was lacking in skills and Ali was so brilliant why is it Jersey Joe retired with his faculties still intact while Ali ended up a mental and physical wreck? You just have to watch footage of the two men in action and you will see what made the difference. Walcott was a brilliant technical boxer. He could move, he could punch, he was always in good physical shape (except for the times earlier in his career the he was so poor he couldn’t eat properly). He also knew how to avoid taking punishment. Jersey Joe was a master of the Art of Boxing. Watching him move across the canvas is something to behold. Walcott could feint, he could parry, he was always in position and on balance. He would turn and start to walk away from his opponent and then suddenly turn back with a lethal combination. Witness his knock out of Ezzard Charles where Joe very nonchalantly steps in with a half hook, half uppercut to win the title. Just amazing.

Walcott vs Charles

Walcott and Ali both had their last fight at the age of 39. Ali had a total of 61 fights while Walcott had 71. Walcott fought professionally for 23 years, Ali for 21 years. Ali was off for three and a half years when he was banned from boxing, so he actually had around 18 years of activity. Walcott was stopped six times. With the exception of the Marciano and Louis fights these stoppages were earlier in his career when he was struggling to survive. Ali was stopped just once, by Holmes; however, he took a lot more punches than Walcott did.

The difference between the two was in their skills. Walcott actually got better with age. Ali deteriorated as he got older. But why?  Ali depended on his speed when he was younger. He was amazingly fast and had great reflexes. As he got older he began to lose that speed, and without it he started taking punches. He did not have the skills to to avoid being hit. He was no Jersey Joe Walcott. In fact, Ali depended on his ability to take punishment in order to win fights. During training sessions he would allow his sparring partners to unload on him. In a bizarre way he seemed to think by taking more punishment he was toughening himself for his upcoming matches. This took a terrible toll on him. Sure it made for exciting fights, but as can be seen in his fights with the likes of George Foreman, Ron Lyle, Ken Norton, Joe Frazier, and very notably, Earnie Shavers, he took some fearful shots. It is no wonder he ended up the way he did.

Jersey Joe Walcott

Walcott, on the other hand, always worked on his defense. He would spend hours in training honing his defensive skills, shadow boxing, working in front of the mirror, watching other fighters. Most importantly, he would work at not getting hit while sparring. When it came to true boxing skills Walcott was miles ahead of Ali. Joe had a full palette to draw from, while Ali was sorely lacking in the finer points of the Manly Art of Self Defense. Walcott was a true master at his trade, in contrast to Ali who had always depended on his physical abilities, first his speed and then his toughness, to carry him through. Walcott was a technician, Ali was a tough guy.

Compare these two champs in their retirement years and you can see the difference. Walcott remained sharp and clear headed. He became the Sheriff of Camden County New Jersey and also served on the boxing commission until he was 70 years old. From then until his death at the age of 80 he worked helping handicapped and disabled children. His defensive boxing skills served him well as he showed no signs of brain damage.

Muhammad Ali

Ali’s deterioration had already started before he retired from the ring. While he made appearances in his retirement years he had become, to people who were willing to face the truth, a symbol of the dark side of boxing. He had become that which he had mocked. It was almost Shakespearean in that Muhammad Ali would become that caricature of the punch drunk boxer he said would never be.
https://youtu.be/opAJBr9G9MYhttps://youtu.be/opAJBr9G9MY

The Four C Notes

The Four C Notes
Give A Barn Burner Performance
In Arundel

The Four C Notes
At Vinegar Hill Music Theatre
Arundel, Maine
Saturday June 17 and Sunday June 18

Reviewed by Bobby Franklin

The Four C Notes

Vinegar Hill Music Theatre has kicked off their second season with the return of the Four Seasons tribute group The Four C Notes led by John Michael Coppola. I attended the Saturday night performance at Vinegar Hill Music Theatre, and if this show was any indication of the upcoming season it is going to be a hot and lively summer in the converted barn that is one of the most beautiful venues for musical performances in Maine.

Dressed in vintage clothing and backed by a terrific seven piece orchestra, Mr. Coppola was joined by Aaron Davidson, Adrian Aguilar, and Tyler Ravelson. The Four C Notes do not impersonate the Four Seasons. What they do is put on a wonderful evening comprised of recreating the still very popular music of the group led by Franke Valli. They do this with energy, enthusiasm, and humor. Mr. Coppola sings the lead with his wonderful falsetto voice and he has what it takes. He also allows the other members of the group to showcase their talents, they all have theatrical backgrounds that add to their performances.

The show opened with Oh What A Night, and then the gang moved right into a medley of Sherry, Big Girls Don’t Cry, and Walk Like A Man. The crowd was already feeling excitement as they were clapping and singing along. This was a high energy performance. As the Cs sang Sunday Kind Of Love a cappella I thought that much of the Four Seasons’ music is actually a cappella with instruments added to it. This led into the very popular Can’t Take My Eyes Off Of You.

Mr. Coppola sings the lead with his wonderful falsetto voice and he has what it takes.

In case you are thinking this was strictly a concert with one song after another being performed, that was not the case. There was quite a bit of showmanship involved. The Four C Notes were beautifully choreographed as they moved about the stage with precision but also with an ease that was very natural. The banter was funny and informative. Each member had a distinct personality and they all had fun playing off one another. Tyler Ravelson was the self proclaimed “Bad Boy” of the group, and on top of his marvelous bass voice he also showed his acting ability. He shined when taking the lead on Beggin’.  Aaron Davis stepped forward for the Doo-wop number Cry For Me and put it over smoothly. It brought the audience back to the days of street corner singing.

Adrian Aguilar, who had been in Rocky, The Musical on Broadway, led on My Eyes Adored You. It looks like Adrian developed a knock out of a voice while in Rocky and he was in championship form on this night. I will pass on the Yo! Adrian jokes as I am sure he has been hearing them long enough.

In an interesting medley called The Ones That Got Away, the group showcased a number of Four Season Songs that never made it to number ten on the charts. These included Save It For Me, Opus 17, Tell It To The Rain, and Girl Come Runnin’. While I was not familiar with these songs they had the unmistakable Seasons’ sound that drove so many other songs to the number one spot.

Vinegar Hill Music Theatre

The band was showcased at the beginning of the second set as they performed an instrumental version of Grease. With one exception, they were made up of local talent drawn from the Maine and Boston areas and all were excellent. Two favorites of mine were there and were absolutely solid as usual. Rob Doquette on drums and the remarkable Tom Snow on keyboards. They are Maine’s gift to the music world.

In the second set things didn’t slow down a bit. The Four Seasons had a lot of hits and they were included here. Dawn, Big Man In Town, Workin’ My Way Back To You as well as Rag Doll triggered the nostalgia nerve in everyone there.

John Michael Coppola, who was in the Chicago production of Jersey Boys, is just superb in so many ways. He has made this show special in that it was really a night of great entertainment that left the audience shouting for more. His dedication shows alongside his gift as a performer and a singer, a gift that he has made great use of.

With the crowd on its feet there was certainly going to be an encore, and much like the finale of a Fourth of July fireworks display, the boys let it all rip out with Grease that featured each performer, and a reprise of Oh What A Night. What a finish to a great night, and Oh! What a night it was!

 

Vincent Pastore and Sally Struthers to star in Bullets Over Broadway at the Ogunquit Playhouse

Open July 5th And Runs Through July 29th

Vincent Pastore (Nick Valente) and Reed Campbell (Cheech) With Ensemble

The Ogunquit Playhouse takes audience on a hilarious trip back to the Roaring Twenties with their production of the musical adaptation of Woody Allen and Douglas McGrath’s madcap film, Bullets Over Broadway on stage from July 5 – July 29. Hailed by Time Magazine as “Musical Theatre Gold!,” Bullets Over Broadway is the side-splitting musical comedy about the making of a Broadway show, filled with tap dancing gangsters, saucy showgirls, big laughs and colorful characters. A young playwright who is in desperate need of financial backing for his next show accepts an offer he can’t refuse from a gangster looking to please his ditzy, talentless girlfriend. Stage and screen star Vincent Pastore is cast as the mobster Nick Valenti, joined by Emmy-winner Sally Struthers who returns to the Playhouse as the dog-toting Eden Brent. Loaded with songs that made the ’20s roar, this six-time Tony-nominated musical features hits from the decedent decade, including “Let’s Misbehave,” “‘Tain’t Nobody’s Biz-ness If I Do” and “There’s a New Day Comin’!”
Vincent Pastore makes his debut at the Ogunquit Playhouse reprising the role of Nick Valenti, which he originated in the Broadway production of Bullets Over Broadway. He is best known for his long running performance on HBO’s The Sopranos, as well as his work on HBO’s 1996 television movie, Gotti and ABC’s The Practice. His numerous film roles include Goodfellas, Revolver, Made, and The Hurricane. On stage, he has played the role of Amos Hart in Chicago. His Off-Broadway roles include Queen for the Day and Lampost Reunion.

Two-time Emmy Award and Golden Globe Award winner Sally Struthers joins the cast as the dog-toting Eden Brent. She is probably best known for her role as Gloria in the groundbreaking TV series All in the Family. She has also starred in the Fox television series 9 to 5 and her own CBS series Gloria, as well as recurring roles on the CBS comedy Still Standing and the CW network’s highly acclaimed Gilmore Girls. Ms. Struthers joined the Gilmore cast for Netflix’s new four movie limited revival, which premiered in the fall of 2016, and recently guest starred in the acclaimed IFC comedy series Maron. Sally Struthers has performed many roles at Ogunquit Playhouse including last season’s Anything Goes as the socialite Evangeline Harcourt, as the Duchess Estonia Dulworth in Nice Work If You Can Get It, as Louise Seger in Always, Patsy Cline, Mama Morton in Chicago, Paulette the hairdresser in Legally Blonde and as Felicia Gabriel in The Witches of Eastwick.

John Rochette is making his debut at the Ogunquit Playhouse as young playwright, David Shayne. On Broadway, he starred as Norm Waxman in Jersey Boys. Off-Broadway, he’s performed with Blue Man Group at Center Blue Man and some of his many regional credits include Elvis in Million Dollar Quartet, as well as Sir Lancelot in Spamalot and Frank N Furter in Rocky Horror Picture Show. He has performed on television on NBC’s Guiding Light, and on ABC’s One Life to Live and All My Children.

Joining the cast is Reed Campbell, in his Ogunquit Playhouse debut as Cheech. He was Cookie McGee in the National Tour of Nice Work If You Can Get It, and performed off-Broadway in Important Hats Of The Twentieth Century at the Manhattan Theatre Club, in The Comedy Of Errors at The Public Theater’s Shakespeare in the Park, and regionally as Judas Iscariot in Stage 773’s The Last Days Of Judas Iscariot. On television, he’s starred as C.O. Will Frank in Netflix’s hit series Orange Is The New Black and on NBC’s The Blacklist: Redemption. He is the co-creator of BROdway and Broadway Late Night on The Broadway Channel.

Reprising her role from the First National Tour of Bullets Over Broadway as Olive Neal is Jemma Jane. Her overseas credits include Audrey in Little Shop of Horrors, Texas in Cabaret, and as the Narrator in Joseph and the Amazing Technicolor Dreamcoat.
Kenny Morris is making his Ogunquit debut as Julian Marx, the producer that enlists the help of a wealthy gangster to help pay for David Shayne’s play. On Broadway, he’s starred in Hairspray, Les Miserables, and the 20th Anniversary of Jacques Brel is Alive and Well and Living in Paris. He was a member of the National companies of Kinky Boots, Hairspray, Sunset Boulevard, and Joseph and the Amazing Technicolor Dreamcoat. He was nominated for a Barrymore Award for Best Supporting Actor for his regional performance in Funnyman at Arden Theatre. He can be seen on film in Steven Soderbergh’s The Knick, and on television on ABC’s Law & Order: Criminal Intent and NBC’s Third Watch.
John Paul Almon joins the cast as Warner Purcell. His Broadway and National credits include, Karpathy in the Kennedy Center’s My Fair Lady, Tussaud in The Scarlet Pimpernel, and as a performer in the past twelve seasons of The Radio City Christmas Spectacular. Regionally he was in the World Premiere of The Bridges of Madison County at Williamstown, and in the Carbonnell Award-winning, Romeo and Bernadette at Paper Mill Playhouse.

Joining the cast as Helen Sinclair in her Playhouse debut is Michele Ragusa. On Broadway, she’s starred as Elizabeth in Young Frankenstein, as Evelyn Nesbit in Ragtime, and as Pennywise in Urinetown, among others. Regionally she’s performed in Mame, Hello Dolly, Monty Python’s Spamalot, Thoroughly Modern Millie, Into the Woods, Marry Poppins, and Boeing, Boeing, as well as headlining with numerous symphonies across the country.
Bridget Elise Yingling returns to the Ogunquit Playhouse as Ellen, after last being seen on the Playhouse stage in 2015’s Sister Act. She is a recent graduate of NYU Tisch School of the Arts, and has starred as Little Red in Into the Woods, and Millie in Thoroughly Modern Millie.

The ensemble members includes Blaire Baker, Jake Corcoran, Elizabeth Dugas, Carissa Fiorillo, Dan Higgins, Justin Jutras, Patrick Lavallee, Will Mann, Brian Martin, Vanessa Mitchell, Corinne Munsch, Kaylee Olson, Joey Ortolani, Kelly Peterson, Lexie Plath, and Ian Saunders.

Helming Bullets Over Broadway for the Ogunquit Playhouse is Jeff Whiting, who is recreating the original direction and Tony nominated choreography of five-time Tony Award winner Susan Stroman. He was associate director and choreographer on the Broadway production of Bullets Over Broadway alongside Stroman, and was director on the National Tour. Other Broadway credits include twelve-time Tony nominated The Scottsboro Boys, Big Fish, and Young Frankenstein as well as the National Tours of Hairspray and The Producers. A member of Disney’s Creative Team, he’s provided television direction for Disney’s Magical Moments Parade, as well as numerous shows and events such as Disney’s Very Merry Christmas, Disney’s 100 Years of Magic, and Disney’s Magic Mirror.
www.ogunquitplayhouse.org.  207.646.5511

 

 

The Hitmen Have A Hit In Ogunquit

Bullets Over Broadway

Ogunquit Playhouse

Through July 29

Reviewed by Bobby Franklin

Early in Bullets Over Broadway now playing at the Ogunquit Playhouse playwright David Shayne and a group of artist friends are discussing a hypothetical situation; If a building was burning down and the choice had to be made to save a person or the last remaining copy of the works of Shakespeare what would you choose to do? Shane and most of his friends said they would save the Shakespeare, as art was more important than the life of just one person. Later in the play he would be tested on this question and find the decision to be a bit more complicated.

Photo by Jay Goldsmith

Bullets Over Broadway is adapted from the 1994 Woody Allen film of the same. It has been turned into a musical, and after seeing both the movie and this fine production I have concluded it should have been a musical from the outset.

It does not have an original score. The music consists of catchy tunes from the period between World War I and II. Some of the songs will be familiar to the audience and some are fairly obscure. The music adds an atmosphere that was missing in the movie. It works and works well.

Playwright David Shayne, played with just the right amount of angst and comedy by the very talented John Rochette, has agreed reluctantly to compromise some of his artistic integrity by allowing the girlfriend of mob boss Nick Valenti to have a role in his play in exchange for having the gangster bankroll the production. Vincent Pastore, reprising his role from the original Broadway version of Bullets, is ideal as the man who takes time between musical numbers such as Gee Baby, Ain’t I Good To You sung to his ditzy girlfriend Olive played by Jemma Jane, to order hits on his enemies.

Photo by Gary Ng

Ms Jane is a hoot when she sings The Hot Dog Song, a saucy piece filled with double entendres and some interesting moves on her part. She appears to relish her role as the not so bright Olive. It is all such fun.

Reed Campbell is positively outstanding as Cheech, (“Not Mr. Cheech, it’s just Cheech.”), Valenti’s top hitman, who has been charged with keeping an eye on Olive as she attends rehearsals for the play. Cheech still finds time to make a hit while tending to Olive. There is an interesting scene where he and an accomplice take a victim for a ride while singing Up A Lazy River. Sure, it’s morbid, but it is also very funny.

Meanwhile, Shayne seems to be at peace with the deal he has made now that leading lady Helen Sinclair (Michele Ragusa) has agreed to star in his play. That peace is soon disrupted when he hears Olive rehearsing her lines with a voice that makes him cringe. He lights up the stage with I’m Sitting On Top Of The World. Mr. Rochette shows great chops as a song and dance man as he moves about the stage. He is very good.

Ms Ragusa does a fabulous job as the aging diva with a touch of Sunset Boulevard mixed in. Using an overly dramatic theatrical voice she is funny without becoming a caricature. She and Mr. Rochette are delightful singing There’s a Broken Heart for Every Light on Broadway.

This is musical theatre at it’s best. It is the Ogunquit Playhouse at its best.

One of the high points of the play, and there are many, is when Cheech and his fellow gangsters perform the song and dance number, Tain’t Nobody’s Biz-ness If I Do, Reed Campbell was absolutely fantastic with this high energy number and had many in the audience on their feet by the end. Campbell is an amazing talent who time and again wowed the crowd at the Playhouse.

In this interesting and funny story we see Cheech taking over authorship of the play as Shayne has to deal with having compromised his artistic integrity. Along the way we are treated to dancing hot dogs, an amazing set consisting of New York City rooftops, a train, vintage car, an actor who is also a compulsive eater who gives new meaning to growing into a part, and wonderful lighting. We are also gifted with the amazing Sally Struthers as Eden Brent who appears with her dog who also displays great acting ability. Ms Struthers take the stage in Ogunquit each season and never disappoints. She is the master of comedic timing.

This production is directed by Jeff Whiting who worked closely with Susan Stroman on the original production. He has recreated that direction and choreography for this show.

I want to add that both John Rochette and Reed Campbell are extraordinarily talented young actors. Having them share the stage with such experienced actors as Vincent Pastore and Sally Struthers is great to see. Both of these men have promising careers ahead of them. I could also say this about the entire cast. Everyone was wonderful. You could just feel the energy and excitement as it spilled into the audience. This is musical theatre at it’s best. It is the Ogunquit Playhouse at its best.

I rarely am disappointed by a show at the Playhouse, though there have been a few that aren’t on my see again list. But, the vast majority are extremely good. Bullets Over Broadway ranks as one of the best I have ever seen there. I strongly recommend you get to Ogunquit and see this production. I have a feeling tickets will be selling fast so I would not hesitate.

Oh, David Shayne finds he has a different answer to the question of whether or not to choose Shakespeare over the life of a human being when he is faced by the choice Cheech makes with dealing with Olive dragging the play down. It turns out Cheech has more artistic integrity, but David has found his humanity.

Bullets Over Broadway
Though July 29
The Ogunquit Playhouse
Ogunquit, Maine
ogunquitplayhouse.org
207.646.5511

 

Talking With Brandon G. Green

Award Winning Actor To Play
Benvolio In Commonwealth Shakespeare’s
Romeo and Juliet

by Bobby Franklin

For its 22nd season Commonwealth Shakespeare Company will be presenting Romeo and Juliet on the Boston Common. The production, which is free to the public, will run from July 19th through August 6th.

Brandon G. Green

Brandon G. Green, will be taking on the role of Benvolio, Romeo’s cousin and friend. Brandon grew up in Selma, Alabama and earned his Bachelor’s Degree from Alabama State University. He moved to the Boston area to attend Brandeis University where he received his MFA. He now teaches at Brandeis.

Most recently he was seen on a Boston stage in the part of Mr. Tambo in the critically acclaimed SpeakEasy Stage production of The Scottsboro Boys. He also won the 2016 Elliot Norton Best Actor Award for his role in the Company One/Arts Emerson production of An Octoroon.

I had a chance to speak with Brandon before rehearsal at the Sorenson Center for the Arts at Babson College in Wellesley.

When we began our conversation I was struck by his rich, deep voice. I could immediately imagine Brandon in the role of the peacemaker Benvolio. His tone would convey both a calming effect and a command that would certainly enable his message to be heard and understood. Accepting that message will prove to be another thing.

Brandon Green grew up in Selma, Alabama. I asked him if there was much opportunity there for a student to pursue acting. “I went to a school that was very much about the arts when I was in the 6th grade, the School of Discovery. I got the bug there. Well, I actually had the bug before then.”

When I asked about what he used as an outlet in his younger, pre 6th grade days, he responded “Yes, I had the bug way before then. I would take part in school assemblies, Christmas Plays, as well as at church.” Was he a class clown? “No, actually, I was really quiet, very quiet. In high school I was in the marching band and choir. There wasn’t a lot, but what they did have helped me out.”

He recalls his time at Alabama State University in Montgomery fondly, “It was a really amazing program. I would argue it is one of the best undergraduate programs in the country.”

“I kind of feel like I’m playing a bit of myself…”

Our conversation turns to his latest project, playing Benvolio for CSC. “I kind of feel like I’m playing a bit of myself. The peacemaker almost reluctantly taking care of his cousin. Benvolio has his own things but he is definitely there for Romeo, and definitely the peacemaker. I was very much that in my friend circles. I was also the one people would come to for counsel in a way. I found myself there a lot of times, and there were times I was in need of a Benvolio in my life.”

Kai Tshikosi (Tybalt) and Brandon Green (Benvolio)

When I ask about Benvolio being a voice of calm and reason in a play where so many characters are irrational, Brandon gives some insight. “Benvolio means good will, well wisher, peacemaker. I feel like the straight man to a lot of the chaos that goes on. He is the cool head that is trying to prevail and survive in a way.” Why is Benvolio no longer in the play after Act I? “The peacemaker in this world has decided go away. He’s not there and that dims the lights a bit.”

Brandon tells me he has always loved Shakespeare. At Selma High while in the 10th grade he took a theatre arts class. He remembers, “LeBaron Mack taught us the Scottish Play (MacBeth). It was my first way into it and I fell in love with it there. When I got to Alabama State I saw Othello. It was amazing.” Brandon would go on to the Shakespeare Theatre of New Jersey in 2010 and then to Brandeis where he got more training in classical theatre. Two years ago he played Oswald in the CSC production of King Lear.

Fight Director Angie Jepson, Kai Tshikosi, and Brandon Green.

Does he have a dream role? “I kind of already played it and that was in An Octoroon. I could not have dreamt up that role. It scared me. That was the perfect storm. A role that called on all my facilities as a performer. It was fun. It was challenging to myself and the audience. I got to let loose in a way I wanted to, or that I didn’t know I wanted to. I will carry that with me forever.”

As our conversation winds down I ask Brandon why people should see the CSC production of Romeo and Juliet on the Boston Common. “It is a magical experience. I truly believe that. Also, seeing a cast this diverse telling the story is incredible. There is nothing like this, it is transformative. You are out there with thousands of people. It’s crazy and it’s beautiful. A very unique experience.” His enthusiasm is contagious.

“Theatre is a collaborative between the audience and the performers..”

In closing I ask Brandon what he would like to say to the audience. I found his comments very thoughtful, sincere, and important. “Theatre is a collaborative between the audience and the performers, so please, we need your energy as much as you need ours. It’s reciprocal.”

Shakespeare said “All the world’s a stage.” Well, you have a wonderful opportunity to share that stage this summer with a very talented and committed actor. Join Brandon Green and the rest of the Commonwealth Shakespeare Company on the Common for what will surely be a great experience.

Romeo and Juliet
Boston Common
July 19 through August 6
commshakes.org
617.426.0863

Photos by Bobby Franklin

Dempsey vs Sharkey: Protect Yourself At All Times

Did Dempsey Hit Sharkey Low?

by Bobby Franklin

On September 23, 1926 Jack Dempsey lost the Heavyweight Championship of the World to Gene Tunney. Dempsey had been inactive for three years before the bout while Tunney had been racking up wins and staying sharp. After the bout there was a clamor for a rematch, but things were a bit different in those days. Even a former champion had to earn his right to a return title bout.

Dempsey, while champion, had agreed to fight Harry Wills but the fight fell through when the promoters failed to come up with Dempsey’s guarantee. Instead, Dempsey went on to face Tunney. Meanwhile, Boston heavyweight Jack Sharkey was compiling a solid record of wins including beating Harry Wills by disqualification. Though Jack won by a foul because Wills was repeatedly backhanding the him, the outcome was never in doubt as Sharkey had administered a severe beating to Wills before the fight was called in the 13th round. This paved the way for a Dempsey vs Sharkey bout with the winner to face Gene Tunney for the title.

Going into the fight Sharkey had gone unbeaten in his last 13 bouts with wins over such men as George Godfrey, Jimmy Maloney, and Mike McTigue. Sailor Jack was brash, cocky, colorful, and a bit erratic. He was also supremely confident he would beat Dempsey. The oddsmakers agreed with him making Sharkey a 7-5 favorite.

The public was very enthused with this matchup as 82,000 fans showed up at Yankee Stadium on July 21, 1927 to witness the fight. Celebrities were there in abundance including Admiral Richard Byrd, Composer Irving Berlin, Flo Ziegfeld, and theatrical producer David Belasco. The gate was an amazing $1,083,530.00, the largest for a non title fight. Dempsey received $252,759.00 and Sharkey’s share was $208,803.00, huge money for the time.

Both fighters were in great shape, but Sharkey was seven years younger and hungry for a title shot. While Dempsey had showed signs of slowing down he was, well, he was still Jack Dempsey and not one to take lightly. The Manassa Mauler was in there to win.

After receiving instructions from referee Jack O’Sullivan the bout began. Sharkey came out very strong in the first round and had Dempsey hurt almost immediately. Sharkey was fighting beautifully, using a very effective right uppercut and a marvelous jab to keep Dempsey off balance. He continued beating Dempsey to the punch for six rounds and it only appeared to be a question of whether or not Sharkey would win by kayo or decision. It did not look good for the former champ.

Though taking a beating, Dempsey was tenacious. He was also doing a very effective job of going to Sharkey’s body. Jack Dempsey knew he couldn’t stand up straight and trade head shots with Sharkey, so he did what he did best, he fought out of his famous crouched attacking the midsection. While Dempsey was hurting Sharkey with those body shots, he was paying a heavy price having to absorb Sharkey’s uppercut and solid left jab. It is overlooked, but Sharkey had one of the best left jabs in the history of the heavyweight division.

As I have written, it just appeared to be a matter of time until the fight went to Jack Sharkey. However, if you watch closely you can see how the body punches were starting to bother Sharkey. As a matter of fact, he came into the ring wearing his trunks quite high in anticipation of Dempsey banging away to the breadbasket. He could use the high waist line as a way to argue Dempsey’s blows were low and hope the referee would warn him to keep his punches up. Sharkey had won three fights in addition to the Wills fight by disqualification. Was it possible he was using that as an ace in the hole in case things weren’t going well? If he did it certainly backfired on him.

At the bell for the seventh round Dempsey stepped up his attack on Sharkey’s body. If you look closely at the film you can see Sharkey was being bothered by those blows. With about thirty seconds gone in the round Dempsey landed lefts and rights to the body. He landed a right hand to Sharkey’s body that appears to land just about at the belt line. Now remember, Sharkey wore his trunks high so this would be in legal territory. Even if his trunks were worn at normal height the belt line is still fair game.

Here’s my take on this controversial fight; Sharkey was being worn down by Dempsey’s relentless body punching. He had hit the former champ with everything he had and Dempsey just would not slow up. Sharkey had thrown a lot of punches. Combine that with the brutal body punches he absorbed and, even though he was way ahead in the bout, he was wearing down. The final right hand Dempsey landed to the body hurt Sharkey a lot. That’s when Sailor Jack made the fatal mistake of dropping his hands and turning to the referee to complain he had been hit low. The second Dempsey saw that opening he fired off a left hook to the face that floored Sharkey. Referee O’Sullivan counted the Gob out.

Now, that punch may have felt low to Sharkey because it was a brutal shot, but I think Jack had had enough of getting hit to the body and was going to try for the disqualification win. The mistake he made was in complaining to the referee while still on his feet. If he had dropped to the canvas and grabbed his groin he may have gotten somewhere with the complaint. Dropping his hands while within punching range of the great Jack Dempsey was about the dumbest thing he could have done. Sharkey broke the first rule of boxing, “Protect yourself at all times.”

Jack Dempsey would go on to have a rematch wth Gene Tunney in what would turn out to be another controversial fight that became known as The Long Count. Sharkey would also be involved in a controversial fight when he took on Max Schmeling for the title vacated by the retirement of Gene Tunney. In this bout Sharkey would lose by a disqualification when Max claimed to be hit by a low blow. Schmeling was a little smarter than Sharkey as he dropped to the canvas before complaining to the referee. Things may have been different if Jack had one the same with Dempsey.

Ragtime Opens At The Ogunquit Playhouse

Tony Award Winning Musical Plays August 2nd Through August 26th

Ragtime, the Tony Award winning musical, will run at the Ogunquit Playhouse from August 22nd through August 26th. In addition to a cast and creative team made up of Broadway veterans, it will also feature the original Tony nominated costumes by Santo Loquasto.

Ragtime tells the story of three families trying to find their way during the turn of the twentieth century in New York City; each struggling with the changing cultural climate in America and each facing the promise of hope and new beginnings in the midst of prejudice and bigotry. A stifled upper-class wife, a determined Jewish immigrant and a daring young Harlem musician are each united by their courage, compassion and belief in the promise of the future. Together, they confront history’s timeless contradictions of wealth and poverty, freedom and prejudice, hope and despair… and what it means to live in America. Written by the award-winning composer/lyricist team of Stephen Flaherty and Lynn Ahrens, Tony Award-winning playwright Terrence McNally, and based on E.L. Doctorow’s distinguished novel, Ragtime is the winner of the 1998 Tony Awards for Best Score, Book and Orchestrations, and both the Drama Desk and Outer Critics Circle Awards for Best Musical and Best Score.

“Truly a story we need to tell at this point in our nation’s history, Ragtime is one of the most powerful shows ever written for the stage, and possibly my favorite show of all time,” stated Executive Artistic Director Bradford Kenney. “To tell this compelling story we have brought together a stellar creative team led by Director Seth Skylar-Heyn. Broadway set designer Tim Mackabee has also joined the team to create an all-new set for our Ogunquit production. I am looking forward to a production of Ragtime that we all will be so very proud of.”

The Ogunquit production of Ragtime will be directed by Seth Skylar-Heyn who has served as Executive Producer for Cameron MacKintosh Inc. in New York. He is also the Executive Producer and Associate Director for the 2017 Broadway revival of Miss Saigon.

Kirsten Scott

The cast includes Kirsten Scott making he Ogunquit Playhouse debut. Ms Scott has played in numerous Broadway productions including Follies, Big Fish, and Jersey Boys.

Also making his Playhouse debut is Jamie Laverdiere whose Broadway credits include The Producers, Pirate Queen, and Motown. He has also played in the National Tours of Urinetown, Motown, and A Chorus Line.

Other members of the cast include Josh Young, last seen in Ogunquit in Les Miserables, Darnell Abraham who was in the Barrington Stage Company’s production of Ragtime, Lindsay Roberts, IRNE Nominee for Best Supporting Actress for her 2016 performance as Queenie in Fiddlehead Theater’s Showboat.

ogunquitplayhouse.org
207.646.5511

Ragtime, A Delightful and Thought Provoking Syncopation In Ogunquit

Ragtime
The Ogunquit Playhouse Through August 26th

reviewed by Bobby Franklin

As the musical Ragtime begins it appears to be a bit overwhelming. The play has a huge cast, and I wondered how I would keep track of all the characters and what was going on. I soon realized that it was like watching a huge chess board with numerous pieces that were constantly in motion. All of these pieces had a purpose that soon became very clear.

Cast of Ragtime
(Photo: Gary Ng)

The story, set in early 20th Century America, revolves around three groups of people, the established old guard, the recent immigrants (Mostly from Eastern Europe), and African Americans. The struggles, pain, hopes, disappointments, coping with change, successes, failures, and tragedies are all captured in this work. And while it takes place over a hundred years ago, many of these struggles are constant in a free society that is continually dealing with changes. It is what makes the United States so great while also so vulnerable to making mistakes.

Ragtime has a truly marvelous score. The fact that so much of it is played with the delightful syncopations of ragtime is fitting. Fitting because the new music of the time represents so many of the changes then occurring. I am not a musician but I felt there was more to the music than just being used as a period piece, so I looked up the definition of syncopation. I found it is a term for “a disturbance or interruption of the regular flow of rhythm” a “placement of rhythmic stresses or accents where they wouldn’t normally occur.”; and that is just what is going on in Ragtime.

This fine production captures so well that interruption of the regular flow in the lives of all involved. Everyone one involved is dealing with change, drastic change. Tateh (Josh Young) the Jewish immigrant from Latvia who has brought his young daughter to America in the hope of giving her a better life, Coalhouse (Darnell Abraham), the African American musician, who has worked hard to make a good life for his family, the unnamed father and mother (Jamie LaVerdiere and Kirsten Scott) who are faced with the “interruption” in their way of living they have known for some time.

For one it turns out well, for another tragic, and for another transformational. It is fascinating, though at times overly predictable, to watch. It is also quite thought provoking because none of the issues addressed are simply black and white. What is to be done when change doesn’t occur fast enough? When justice is not equally applied? Is vengeance ever justified? We hear from Booker T. Washington (Rod Singleton), Emma Goldman (Klea Blackhurst), and Admiral Peary (Joel Robertson).

The discussion between Washington and Coalhouse after a terrible injustice has occurred is very thought provoking. How to deal with such injustice is a question that is not easy to answer.

Josh Young and Ella Luke-Tedeschi (Photo: Gary Ng)

Though dealing with so many serious questions, this is also a lively and funny play. There are appearances by Harry Houdini (Freddie Kimmel) and the singer Evelyn Nesbit (Carly Hueston Ambur), and a wonderful scene at a baseball game that captures the fun of the early game but also shows the difficulty in some being able to accept the changing ethnicities of the players.

The score is superb. It flows smoothly and keeps the story connected. Darnell Abraham’s rendition of Make Them Hear You is particularly powerful not only in its lyrics but because of the deep emotion Abraham brings to it.

As I have said, this play has a huge cast so it is impossible to give credit to all of the excellent performances in the limited space I have. However, I have to mention one member of the cast that not only impressed me but who also had the audience talking about him after the show.

Seven year old Tyler Wladis as The Little Boy was just phenomenal. I have never seen such talent in someone so young. Tyler had a huge part with many lines, both opening and closing the play. His opening monologue set the tone for what was to unfold. His expressions and movements about the stage were just impeccable. This young man has an energy and timing that is truly amazing. He was simply a joy to watch and will surely be seen again.

Ragtime at the Ogunquit Playhouse is an interesting and well done work. It is thought provoking and fun. It will provoke much discussion afterwards. I would just warn you not to take a position of moral superiority when having a conversation about it. Remember, just because someone has views that differ from yours or is not from the same socio economic background does not mean they are evil. I firmly believe that the vast majority of the American people only want better lives for their families and for others. The approaches to the problems facing our society may be different, but if you keep in mind our goals are similar and meant for the better it will maybe, just maybe, make it easier for us to talk to each other.

Ragtime shows us the difficulties in dealing with change, but change will always be occurring as it always has. We can deal with it. Let’s tone down the moral superiority and stop the shouting and lecturing. That is what I have taken away from this wonderful play. It will never be easy, but there s much more kindness than cruelty out there. We just need to listen.

Ragtime Through August 26th
Ogunquit Playhouse, Ogunquit, Maine
ogunquitplayhouse.org
207.646.5511

2017-2018 Boston Theatre Season Gets Underway

Lyric Stage, SpeakEasy Stage Company, and Huntington Theatre
Light Up In September

An exciting new theatre season is about to get underway in Boston. Three of our best local companies will soon be raising their curtains in what promises to be an exciting season of both new and classic works. We are lucky to have so many great companies in Boston and this should be another great year of theatre.

Huntington Theatre Company Presents

Merrily We Roll Along

Over at the Huntington Theatre Stephen Sondheim’s legendary musical Merrily We Roll Along will open on September 8th and run through October 15th. Director Maria Friedman will recreate her critically acclaimed West End production for the Boston stage, a production that received the most five star reviews in West End history.

Stephen Sondheim

It also received praise from Stephen Sondheim who said “This production of Merrily We Roll Along is not only the best I’ve seen, but one of those rare instances where casting, direction, and show come together in perfect combination, resulting in the classic ideal of the sum being greater than the parts.”

The cast includes Mark Embers and Damian Humbly who will reprise their roles from the London production, Aimee Doherty who was in last year’s Huntington production of Sunday In The Park With George, and Jennifer Ellis who was just spectacular in last year’s SpeakEasy production of The Bridges Of Madison County.

huntngtontheatre.org 617.266.0800

Men On Boats
At The SpeakEasy Stage Company

From September 8 to October 7, 2017, SpeakEasy Stage Company will proudly present the Boston-area premiere of MEN ON BOATS, a comic adventure tale about an actual 1869 expedition to chart the Colorado River, brought thrillingly to life by a diverse non-male cast.

 

Men On Boats

The play is the work of Brooklyn resident Jaclyn Backhaus, who stipulates that, while the characters in the play were historically cisgender white males, the cast should be made up entirely of people who are not. “I am talking about racially diverse actors who are female-identifying, trans-identifying, genderfluid, and/or non-gender-conforming,” notes the playwright in the script.

The result is a hilarious historical pageant that offers both a provocative and contemporary lens through which to view our shared past.

Somerville resident Dawn M. Simmons will direct SpeakEasy’s Boston Premiere production of MEN ON BOATS. In addition to her many directing credits, Ms. Simmons is co-Artistic Director of New Exhibition Room, Artistic Lead with The Front Porch Theatre Collective, a member of the StageSource Board, and Director of Performing Arts for Boston Center for the Arts.

To go on this journey with her, Ms. Simmons has assembled a talented crew of Boston-based actors: Lyndsay Allyn Cox, Ally Dawson, Veronika Duerr, Bridgette Hayes, Alice Kabia, Mal Malme, Cody Sloan, Robin Javonne Smith, Hayley Spivey, and Ellie van Amerongen.

The all-female design team is Jenna McFarland (scenic); Rachel Padula-Shufelt (costumes); Daisy Long (lighting); and Elizabeth Cahill (sound).

MEN ON BOATS will run for five weeks, from September 8 through October 7, in the Roberts Studio Theatre in the Stanford Calderwood Pavilion at the Boston Center for the Arts, 527 Tremont Street in Boston’s South End.

www.SpeakEasyStage.com 617.933.8600.

Gypsy
A Musical Fable
At The Lyric Stage

Once again, this year the Lyric Stage will take a lavish Broadway production and set it in the intimate confines of the theatre on Clarendon Street in Boston. My Fair Lady and Camelot both received rave reviews in the last two seasons and the Lyric has shown the magic that can be made by producing intimate versions of these classic musicals.

Featuring Leigh Barrett as Rose, Kirsten Salpini as Louise, Kira Troilo as June, and Steven Barkhimer as Herbie plus direction and choreography by Rachel Bertone audiences will have high exceptions for this production. I doubt the Lyric will let them down.

Jule Styne

With music by Jute Style and lyrics by Stephen Sondheim, Gypsy is one of the iconic musicals in theatre history.

Tickets tend to sell fast for these Lyric Stage musicals, so I would urge you not to wait long. Gypsy runs from September 1st through October 8th.

lyricstage.com 617.585.5678

 

Ogunquit Playhouse Set to Stage the World Premiere of Heartbreak Hotel

The Story Of Elvis Presley’s Early Years To Run August 30 though September 20

From the creator of Tony Award-winning musical Million Dollar Quartet, the Ogunquit Playhouse is proud to produce the World Premiere of Heartbreak Hotel, as part of its 85th anniversary season, on stage August 30 to September 30. This brand new musical tells the story of Elvis Presley’s journey from an unknown musician to the cusp of his super-stardom. This new musical features hit songs from the King himself, as well as the legends who influenced his iconic music, with chart-toppers including “Blue Suede Shoes,” “Tutti Frutti,” “That’s All Right,” “Shake Rattle and Roll,” and, of course, “Heartbreak Hotel.”

Executive Artistic Director Bradford T. Kenney stated, “Throughout this year I have had the privilege of working very closely with Floyd Mutrux, the creator of the Tony Award-winning musical Million Dollar Quartet on its prequel, Heartbreak Hotel, now making its premiere on our stage. It has been an incredible journey working hand in hand with Floyd, the commercial partners, and Authentic Brands Group/Elvis Presley Enterprises, to bring the rich story and music of Elvis to life. Elvis became one of the great icons of our popular culture. He made a lasting imprint on our society, and his career changed the course of popular music, not only in our country, but around the world – all during a time of great change in America. I am thrilled that Ogunquit audiences will be the first to see this exciting new show.”

Eddie Clendening

This brand new tribute to the “King of Rock ‘n’ Roll” features actors who also play all their own instruments. It stars Eddie Clendening in the role of Elvis Presley, as well as Co-Musical Director. Mr. Clendening originated the role of Elvis in the Broadway production of Million Dollar Quartet, which he played for 1500 performances, and later Off-Broadway for 523 performances. He will recreate the role for this tender story that follows Elvis Presley in the early years of his bourgeoning career as he and Sam Phillips create the music that will forever change their lives. As Elvis’ career skyrockets, both lifting and shattering the lives of those he loves, a secret love story is revealed, a betrayal is discovered, and “Colonel” Tom Parker changes the course of history. When describing the show, Writer/Director Floyd Mutrux explained, “This is the story of 18 months of the life of a truck driver, and how he and his music impacted the world around him.”

Jerry Kernion makes his debut at the Ogunquit Playhouse as Col. Tom Parker, Elvis Presley’s long-time manager. Mr. Kernion has performed around the world with The Reduced Shakespeare Company for the last 15 years; many regional and international productions including Cirque du Soliels’ The Beatles, LOVE, Cirque du Soliels’ Banana Shpeel; and various shows at regional theatres including Laguna Playhouse, Merrimack Repertory Theatre, San Diego Repertory Theatre, and many more.

Joining the cast as Sam Phillips, the record producer who founded Sun Records and is credited with discovering Elvis Presley, is Matt McKenzie. He recently debuted on Broadway in Monday After the Miracle with Jane Alexander, directed by Arthur Penn. He’s played leading roles at many regional theatres across the country. In the Academy Award-winning film Gods and Monsters, he played Colin Clive opposite Sir Ian McKellan.

Also returning to the Ogunquit Playhouse is Christopher Sutton who will portray Dewey Phillips, one of Rock ‘n’ Roll’s early disc jockeys. He was last seen on the Ogunquit stage as Prince Herbert in Spamalot.

Los Angeles music scene veteran Geno Henderson serves as Co-Music Director and also appears as B.B. King, Ike Turner and Chuck Berry in this production. Mr. Henderson is a guitarist, vocalist and songwriter, who has toured, recorded and/or made television with: The Gap Band (featuring Charlie Wilson), The Pointer Sisters, Billy Preston, Roberta Flack, James Ingram and Patti Austin (at Carnagie Hall), Smokey Robinson, Sly Stone, and many others. In 2011, he made his Broadway debut originating the role of Jocko Henderson in the musical Baby It’s You.

Bassist Nathan Yates Douglass returns to the Ogunquit Playhouse as Bill Black, one of the pioneers of Rock ‘n’ Roll music and bassist in Elvis Presley’s trio in the early days of his career. He was last seen on the Ogunquit stage in the 2016 production of Seven Brides for Seven Brothers and Million Dollar Quartet. His National Tour credits include The Buddy Holly Story and The Tammy Wynette Story, and Off-Broadway On the Bum.

Drummer Jamie Pittle will perform as DJ Fontana, a drummer for the Louisiana Hayride radio broadcasts and Elvis Presley’s drummer for fifteen years. Mr. Pittle appeared Off-Broadway in the US Premiere of Missed Connections and Requiem for a Lost Girl. In regional theatres he has appeared in Million Dollar Quartet as Fluke, and The Buddy Holly Story as Jerry Allison. Guitarist Matt Codina will make his acting debut in Heartbreak Hotel as Scotty Moore, the guitarist and recording engineer who was known for backing Elvis Presley in the first part of his career, up to the beginning of Elvis’s Hollywood years.

Brenna Bloom portrays Marion and the queen of Rockabilly, Wanda Jackson. She has performed Off-Broadway in One Day and in regional theatres in such productions as Spring Awakening, Chicago, Grease and A Chorus Line. Erin Burniston plays Elvis’ girlfriend Dixie Lock. She recently performed in the National Tour of Spring Awakening and in regional theatre productions of Gypsy, La Cage Aux Folles, Hello, Dolly!, George M!, Seven Brides for Seven Brothers and many more.

Director and writer for Heartbreak Hotel is Floyd Mutrux, who is the co-author of the Tony award-winning Million Dollar Quartet and the co-author/director of the Tony nominated Broadway production of Baby It’s You!

Individual tickets are on sale and prices start at $52 each.  www.ogunquitplayhouse.org  Box Office: 207-646-5511.

Commonwealth Shakespeare Company Announces 2017-2018 Season

Season includes Fear and Misery in the Third Reich,
Old Money, Death and the Maiden,
Richard III on Boston Common, and more

Steven Maler

Commonwealth Shakespeare Company (CSC) Founding Artistic Director Steven Maler announced today the 2017-18 Season, to be presented at the Sorenson Center for the Arts at Babson College in Wellesley, as well as in downtown Boston.

Mr. Maler explained the themes connecting the season offerings: “William Faulkner said ‘The past is never dead. It’s not even past.’  I keep coming back to this quote as I think about the world we find ourselves in today, as we struggle to make sense of our rapidly changing world. Industries are being disrupted, politics are being disrupted, lives are being disrupted. In this sea of change, where norms are being upturned and the future is murky, I wanted to look at how great writers responded to mercurial times, how they captured the fleeting moments of civic and personal decisions when history was not yet inexorably fixed, when a change of direction was still possible. These plays capture the subtle, and not so subtle, fissures in the daily domestic tapestry as the Nazi’s came to power in Germany in Bertolt Brecht’s Fear and Misery in the Third Reich; the half-lives of destruction in the wake of a tyrannical military dictatorship in Ariel Dorfman’s Death and the Maiden; the power of money, both old and new, in Wendy Wasserstein’s Old Money; the chaos and devastation of political instability in Macbeth; and of the destructive rise and fall of one of Shakespeare’s most riveting villains in Richard III. It’s an intense season for an intense time, a season of plays that we hope provoke deep thought about how we want to be remembered by history.”

Fear and Misery in the Third Reich:  A Staged Reading
by Bertolt Brecht, translated by Eric Bentley, directed by Steven Maler;
featuring Tony Shalhoub and Brooke Adams
Monday, November 13, 2017 at 7:00 P.M.
Carling-Sorenson Theater, Babson College

Brecht’s series of 18 interconnected playlets describe what life was like in German households in the 1930s as the Nazis came to power. Written while Brecht was in exile in Denmark and first performed in Paris in 1938, these poignant stories dramatize the suspicion and anxiety experienced by ordinary people, particularly Jewish citizens, as the power of Hitler grew. The reading features renowned film and theater actors Tony Shalhoub and Brooke Adams.

Theatre in the Rough is a script-in-hand reading series presented without common theatrical elements like sets or costumes. These pared-down readings uniquely engage the audience by immersing them in the immediacy of the text and the actors’ performances, allowing one’s own imagination to take creative flight.


Death and the Maiden           
a play by Ariel Dorfman, directed by Steven Maler
January 30–February 11, 2018
Sorenson Black Box, Babson College

After the fall of the totalitarian regime in a South American country, a former political prisoner finds herself face to face with the man she believes was her captor, a sadistic doctor who’s face she never saw. Is he guilty beyond a reasonable doubt, or is her paranoia getting the better of her?

Old Money
by Wendy Wasserstein, directed by Karen McDonald
March 6–18, 2018
Carling-Sorenson Theater, Babson College

A dinner party in a fashionable home offers a rich and witty look at social classes and issues of wealth and privilege — from the Gilded Age of the early 20th century to the present day.

Macbeth
by William Shakespeare, directed by David Gammons
featuring the CSC2 Company of early-career actors
Carling-Sorenson Theater, Babson College
June 1, 2018 Shakespeare’s classic tragedy dramatizes the damaging effects of political ambition on those who seek power for its own sake.

Richard III – Free Shakespeare on the Boston Common!
by William Shakespeare, directed by Steven Maler


July – August, 2018Shakespeare’s searing chronicle of a ruthless leader’s ascension through betrayals and multiple murders, and the devastation he leaves in his wake as he gains power over the realm.

In addition, CSC presents its annual series, Shakespeare and the Law and Shakespeare and Leadership as follows;

Shakespeare & the Law: Measure for Measure
Directed by Adam Sanders
Tuesday, September 26, 2017 at 6:00 P.M.
Lyric Stage Company, 140 Clarendon Street, Boston

Info: commshakes.org  617-426-0863

NEW REPERTORY THEATRE PRESENTS
 THE BOSTON-AREA PREMIERE OF 
IDEATION

BY AARON LOEB
DIRECTED BY JIM PETOSA
SEPTEMBER 2-24, 2017

“This season we felt compelled to look at the resilience of the human spirit,” says Artistic Director Jim Petosa. “At a time when it is increasingly difficult to decipher truth from fallacy in politics and the news, Ideation allows us to explore actions of thought in the creation of realties. In this thrilling, and darkly comic mystery, the truth becomes so twisted that we begin to question everything. We’re asking those who see the show to please spread the word, but don’t give away the ending!”
“After the tremendous success of last year, we’re thrilled to present another remarkable season at New Rep,” says Managing Director Harriet Sheets. “Our first production of the season takes us deep into the inner-workings of a fast-paced consulting firm and their a-list team. Joining us on that team are a number of New Rep regulars: Christine Hamel, Lewis D. Wheeler, and Ed Hoopman, along with Jake Murphy, who made his New Rep debut last season, and newcomer Matt Ketai. We welcome them all for what is sure to be one of our most talked about productions of the season!”

In Aaron Loeb’s darkly comic psychological thriller, a group of top-tier consultants are tasked with a mysterious project for an unnamed client. The team must come up with a solution to a morally and ethically ambiguous hypothetical—one that threatens to tear the team apart. Ideation is a captivating new work that will leave you on the edge of your seat.

CHRISTINE HAMEL* (Hannah) returns to New Repertory Theatre after performing in Brecht on Brecht, Broken Glass, On the Verge, Ragtime, and Sweeney Todd.
ED HOOPMAN* (Ted) returns to New Repertory Theatre after performing in Mister Roberts, Indulgences and touring productions of Macbeth and Hamlet. Recent credits include Camelot (Lyric Stage Company); and Finish Line (Boston Theater Company/Boch Center).
Mosesian Center for the Arts321 Arsenal Street, Watertown, MA 02472
For more information:Telephone: 617-923-8487
newrep.org

Tony Shucco One Of Boston’s Greatest: He Should Never Be Forgotten

North End Native Defeated Five World Champions

by Bobby Franklin

Tony In His Prime

I remember getting to know Tony Shucco when I was a young amateur boxer training at the New Garden Gym in Boston. He would climb the stairs to the fourth floor of the legendary gym many a day to watch the fighters work out. He was usually quiet, but it was obvious he enjoyed being there. Boxing had been and still was his life.

It is sad that such a great fighter, a man who defeated five world champions including two heavyweight champs, is not better remembered. Tony was among the best boxers to fight out of Boston and deserves to be recognized for that.

Not long ago I spoke with his daughter Angela and she allowed me to look at a box filled with letters, photographs, and news clippings of her father’s career. She is very proud of her father and hopes more people will learn about his career.

Tony Shucco was born June 13, 1911 and grew up in Boston’s North End where he lived most of his life. His original name was Anthony Sciucco, but he changed it to the more easily pronounced Shucco when he began boxing.

The Man About Town

After an outstanding amateur career that consisted of nearly a hundred bouts and numerous championships, Tony moved onto the professional stage with his first bout taking place in 1928. He would remain undefeated for 18 fights before dropping a decision to the great Johnny Indrisano at the Boston Arena. At this time Tony was campaigning as a welterweight but would begin moving up through the weight classes. And, like so many great boxers who start off at lower weights, he retained the speed and skills that are rarely seen in the heavier fellows.

Tony was a brilliant boxer who possessed one of the best left jabs in the business. Though he rarely weighed over 180 pounds he fought many of the leading heavyweights of his day. He defeated Natie Brown, Lee Ramage, Tuffy Griffiths, and two heavyweight champions, Jack Sharkey and James J. Braddock. He also scored wins over champions Maxie Rosenbloom, Bob Olin, and Lou Brouillard.

Tony Shucco was a solid top contender for years and it is unfortunate he never got a shot at a title. He certainly had the credentials for it, but back in those days there were so many outstanding fighters competing you really needed to be connected to get a shot.

Packing For A Fight In Germany

In 1938 Tony traveled to Europe where he had an English representative by the name of Tom Hurst. He was a making a name for himself across the Atlantic with fights in England, Ireland, and Germany. In letters he wrote home he began signing his name “English” Tony Shucco. While there he became close friends with American Flyweight Champion Jackie Jurich who was also represented by Hurst. The clouds of war were starting to gather and it was difficult being separated form his wife Etta and young son Anthony, so Tony returned home. He was immensely popular with the European fans and surely could have built a great reputation on the Continent had he continued fighting there.

Tony Missing His Family

When he returned to the States he dropped a close decision to top rated heavyweight Bob Pastor and then went on a winning streak. It is at this point in Tony’s career where he just couldn’t catch a break. In 1940 Heavyweight Champion Joe Louis agreed to defend his title in Boston. The logical opponent for Joe would have been Tony Shucco who was on a six fight winning streak. Tony was back from Europe, in good shape, and full of confidence. Unfortunately, the title shot was given to Al McCoy who had lost three of his last six fights including two consecutive losses leading up to the Louis fight. I am not sure why McCoy was chosen over Tony, but it should have been Shucco in the ring on that December night.

Jackie Jurich with Tony Shucco

I am not arguing Tony would have beaten Louis as there wasn’t a man on the planet who could have taken Joe back then. But, I will make the case Shucco had the style to give the Brown Bomber some trouble. It is also highly possible Tony could have lasted the distance. It is a shame he did not get the opportunity to fight for boxing’s biggest prize against its greatest champion. I can guarantee you he would have been remembered for that and would have made Boston proud.

It is interesting to note that after the loss to Pastor, Tony continued without a loss until he retired in 1942. In spite of this great record he would never get that elusive shot at the title.

In 1944 Tony embarked on a comeback. He had seven bouts winning three, losing two, with one ending in a draw. He retired for good in 1944.

Boxing’s Elder Statesman

When I got to know Tony he was showing the effects of the punches he took later in his career. I remember being told at the time that his managers, one of whom was a relative that I shall not name, kept him fighting to cash in on his reputation. At this point Tony’s legs were not what they used to be and he was taking punches he easily would have avoided as a younger man. Once again, that dark side of boxing reared its ugly head.

I spent many an afternoon talking with Tony in the New Garden Gym. He aways stressed the importance of the left jab to me. He would say “Kid, keep hitting ‘em with the left, and every once in a while toss in a right so they don’t get bored.” He also stressed to me to always fight fair. He told me “Even if the other guy pulls stuff on you never sink to his level.”

There is a sign at the corner of Bowdoin and Cambridge Streets in Boston that names it “Anthony Sciucco Square”. There are two things wrong with this sign. One, it is a Gold Star sign that is meant to remember a fallen soldier. Two, it should read Anthony “Tony Shucco” Sciucco Square, and have a pair of boxing gloves on it. Maybe some politician will read this and correct that oversight.

Tony Shucco passed away February 26, 1983. It was an honor to know this great man. I know his family is very proud of him. It is time Boston rediscovers him. He was one of its greatest athletes, and a man who always fought fair even though he wasn’t treated that way.

Video: Shucco vs Lydon:

There’s Good Rockin’ In Ogunquit!

Heartbreak Hotel
Ogunquit Playhouse
Through September 30th

reviewed by Bobby Franklin

The early years of Elvis Presley are too often overlooked. Most Presley impersonators portray the Elvis of the Vegas stage years wearing capes and sequined jump suits. At this later point in his life the drug use was really beginning to show, and the rock icon was becoming a tragic figure. The hard living would result in his untimely death at the age of 42. It is unfortunate it is this Elvis who is most often portrayed

Photo Credit: Gary Ng

While the Las Vegas Elvis fits into the much too often tragedy of a great talent taken down by his own success, the more interesting story lies in his early years. This is where Floyd Mutrux, the creator of the Tony Award winning Million Dollar Quartet, which played to sold out crowds at the Ogunquit Playhouse the past two seasons, has stepped in to tell the truly fascinating story of Presley’s early life.

Heartbreak Hotel is a prequel to Million Dollar Quartet and focuses on the Sun Records years of the young truck driver who would skyrocket to fame overnight.

The world premiere of Heartbreak Hotel is now playing at the Ogunquit Playhouse. It is an interesting production to watch as it is still a work in progress. The music is positively outstanding with all of the actors playing their own instruments.

Clendening captures the persona of the young Elvis.

Eddie Clendening who originated the role of Presley in the Broadway production of Million Dollar Quartet is not an Elvis impersonator. He brings much more to the stage than just imitating the rock icon. Clendening captures the persona of the young Elvis. Most impressively, he is able to rock out with the raw energy of Presley while always retaining that shyness that made him so charming. While ripping out on songs such as Good Rockin’ Tonight with hips swiveling and lip twitching we see that young boy who still seems just a bit uncomfortable in the spotlight even while he is thriving on it. Clendening really pulls this off and it is no easy task to do so. This is as close as you will come to experiencing the young Elvis, a paradoxical figure who was shy and yet craved attention.

Photo Credit: Gary Ng

The story is not just about Elvis but also about the era. It was an amazing and transformational time in music and there are cameos from many of the other great performers of the time. These include Wanda Jackson (Brenna Bloom) and Sister Rosetta Tharpe played by Terita Redd who deserves an Amen! for her amazing rock/gospel singing.

Geno Henderson nearly steals the show playing numerous greats including Chuck Berry and Nat King Cole. Mr. Henderson moves seamlessly through his parts.

The interplay between Colonel Tom Parker (Jerry Kernion) and Sam Phillips (Matt McKenzie) creates a tension with Parker seeing Presley as a product and Phillips recognizing him as a great artist. It leaves us wondering just what would have happened if Presley had decided to remain with Phillips.

Yes, this play is a work in progress with the musical numbers, the sets, the lighting, all outstanding. I don’t think this time of Elvis Presley’s life has ever been captured so well. Where the production is weak is in the book. The early life of this seemingly simple southern boy is a very complex story. It is a huge challenge to try to capture even a very condensed version of all that went on in those early years while still focusing on the music. What I saw on the stage in Ogunquit is a great start to what can be a wonderful and important story. It will be interesting to see how it all develops.

There are more than a couple of reasons to see Heartbreak Hotel. First, watching Eddie Clendening as the young Elvis is a truly great experience. He really gets it. Second, while this is a work that is still being developed it is fascinating to be a part of the process as I am sure the writer and director are taking the pulse of the audiences. It might not be a bad idea for them to have suggestion boxes placed at the exits. I know I would have contributed a few.

Heartbreak Hotel takes us back to one of the most incredible eras in the history of American music. It is just amazing when you realize how fast things changed. It was an exciting time that lives on in music through this day. It’s rather ironic that Colonel Parker chose to take Elvis to Hollywood and Vegas as he didn’t believe Rock N Roll was going to last. Sam Phillips knew better.

ogunquitplayhouse.org  207.646.5511

 

The Lyric Stage Finds Its Gypsy

A Theatre Experience To Remember 

Gypsy at the Lyric Stage, Boston Through October 8th

Reviewed by Bobby Franklin

Lyric Stage Artistic Director Spiro Veloudos has found his Gypsy. In Leigh Barrett he has found an actor who can step into the iconic role of Mama Rose. Ms Barrett makes this her Rose and we get to see one who fully embraces the part with a powerful performance. From her first number, Some People, you know she is going to be very special. It has to be a daunting role to step into, but she’s got what it takes.

Kirsten Salpini
(Photo Credit: Mark S. Howard)

He has found his Louise in the amazingly talented Kirsten Salpini who gives a perfectly measured Louise who goes from being the unsteady second fiddle to her sister and grows in confidence and the ability to stand up to her domineering, and it can be argued, abusive mother. With Ms Salpini we see that transformation occur seamlessly. It is not an easy part to play.

He has found his June in Kira Troilo who gives us the fair haired daughter who finally realizes she has to flee the smothering grip of her mother. She is the child who realizes that in order to become a woman she has to walk away from it all. At first her character seems very superficial, but Ms Troilo gives her a sensitivity and a humanity that allows us to respect June and leaves us knowing she will make a good life for herself.

And then there is Herbie. Spiro has found a marvelous Herbie for us in the ever so talented Steven Barkhimer. Mr. Barkhimer gives a character who could be taken for weak but has us see it is not weakness but kindness that inhabits this very decent man who has taken up with a very difficult woman. Having seen Mr. Barkhimer before I was not at all surprised to see how truly wonderful he is in this role, and it is such a pleasure seeing him practice his craft.

If you miss this production you are making a huge mistake.

Spiro has found all of this talent and more including the young June and Louise played by Margot Anderson-Song and Cate Galante who, accompanied by fabulous ensemble contribute so much to the very strong first act. They are very impressive.

Leigh Barrett
(Photo Credit: Mark S. Howard)

And finally, he has found Director and Choreographer Rachel Bertone who pulls it all together for an amazing Gypsy. Ms Bertone gets it all just right in this scaled down but amazing production of what has been called the greatest of all Broadway musicals.

The six piece orchestra led by Dan Rodriguez coupled with a simple but poignant set make this a first rate work capable of rivaling any huge stage production. I would go as far as to say it is better. Seeing this in the intimacy of the Lyric Stage Theatre brings us close not only physically but emotionally to the story. A story that has been described as Lear-like and while filled with some of the greatest numbers in the history of Broadway musicals, it can be searing and painful to watch.

Stephen Barkhimer, Leigh Barrett, Kirsten Salpini
(Photo Credit: Mark S. Howard

The score is timeless and simply great with music by Jule Style and lyrics by Stephen Sondheim. The songs are unforgettable, and it is all pulled together in the book by Arthur Laurents. Numbers such as Let Me Entertain You, Some People, Small World, If Mama Was Married, Everything Coming Up Roses, You Gotta Get A Gimmick, and my favorite Little Lamb, that Kirsten Salpini does with such tenderness speak for themselves. This is the stuff of legend.

Okay, so now I have to add something, and I know I am in a very tiny minority when I say this. I have seen productions of Gypsy before, and I have always enjoyed  Act I. It is Act II that would leave me flat, or rather with the feeling the story is left unresolved and with an unnecessary cruelty. I feel the dysfunction of Mama Rose has been taken too far. In truth, I was not looking forward to seeing it again, Act II that is. This time was the exception as Director Bertone brings it all together thoughtfully at the conclusion. Yes, Rose is still flawed but something special happens. It may not be a Kodak Family moment, but it is real and it works.

As I said at the beginning of my review, Spiro has found a great Gypsy, with Barrett, Salpini, Troilo, Barkhimer, and company lighting up the Lyric Stage. If you miss this production you are making a huge mistake.

Spiro Veloudos has kicked off his 20th year at the Lyric Stage in great fashion. He has found something very special and is sharing it with all of us. Accept this gift from this wonderful man. He knows how to Light the Lights!

Gypsy
The Lyric Stage, Boston through October 8th
lyricstage.com 617-585-5678

 

Friends To The Beginning

Merrily We Roll Along
The Huntington Theatre

Through October 15

Reviewed by Bobby Franklin

The Huntington Theatre Company plans to produce all fifteen of Stephen Sondheim’s musicals. This year they have begun their season with Merrily We Roll Along, the Sondheim play with book by George Furth that had a very rocky beginning in 1981, closing on Broadway after just 16 performances. Sondheim and Furth revised the play in 1992, but not on Broadway. Twenty years after that Maria Friedman, who played Mary in the 1992 production, directed a new production that became a hit in London’s West End.

And now, thanks to Huntington’s artistic director Peter DuBois, Boston audiences have a chance to see this wonderful production with Maria Freidman directing. For a play that had such a rough beginning it has grown into a solid work.

Mark Umbers and Aimee Doherty
Photo; T. Charles Erickson

The story about three friends, Frank, Charley, and Mary is told in reverse. The play begins as their friendship is coming apart in 1976 and works it way back to when they first got together in 1957. It is a story of the challenges facing friends as they move ahead in life and begin to define their values, which can often turn out to be much different as they experience life. There is no doubt audience members will find much that is familiar in the play.

As the play opens we learn of the tension between Frank and Charley who’s friendship had also turned into them becoming a song writing team and playwrights. Creatively they worked well together. The two had become quite successful, but each measures success in a different way, and this has caused much tension between them.

…a stage that is overflowing with talent giving us theatre that is a joy to watch.

Frank and Charley are played by Mark Umbers and Damian Humbley respectively. They are reprising their roles from the West End production and are marvelous together. Mary is played by Eden Espinosa who brings an honesty as well as a tenderness and wit to the role of Frank and Charley’s novelist friend who sees the destructive effects success is having on the friendship but is not able to do anything to stop it. She is also in love with Frank but never lets on to him.

Damian Humbley, Mark Umbers, and Rebecca Gibel
Photo: T. Charles Erickson

In what is one of the musical highlights, Mr Humbley as Charley is positively superb when he encapsulates all of his misgivings about what Frank is doing wth the direction of their career. The number, Franklin Shepard, Inc, takes place during an interview at NBC studios and is a high octane piece that is a show stopper. The audience at the performance I attended loved it, as did I.

There is so much to enjoy about this show. The score has to be structured in an unconventional manner as the story is moving backwards. I would imagine Sondheim enjoyed playing with this musical timeline.  Music Director Matthew Stern is in top form in his treatment of it. The Choreography by Tim Jackson is fantastic. Watching the company moving about the stage during “The Blob” set in 1962 is both very funny and brilliantly done. Other numbers include the touching but upbeat Old Friends, Not A Day Goes By performed beautifully by Jennifer Ellis, and the Vaughn Meader influenced Bobby And Jackie And Jack a comic musical takeoff of the Kennedy’s.

Eden Espinosa, Mark Umbers, and Damian Humbley
Photo: T. Charles Erickson

Taking this ride back to where it all began is a fascinating journey. Along the way we go from the judgements we make of the characters having seen them after so much occurred to learning how they got that way. It is so interesting to observe as it reminds us how fragile friendships can be, and how what we value as individuals can create conflicts with those we love. It also reminds us of how hard it can be to frame our values when we are not sure of what it means to be successful.

Umbers, Humbley, and Espinosa are just fantastic. Add the remarkable Jennifer Ellis as Beth and Aimee Doherty as Gussie and you have a stage that is overflowing with talent giving us theatre that is a joy to watch.

Jennifer Ellis and Mark Umbers
Photo: T. Charles Erickson

Many years ago a very successful man gave me a piece of advice. he told me not to chase success but to chase the idea. Success will follow. I believe by success he meant happiness is seeing your idea blossom. Charley understands this,  while deep inside Frank does too, but just can’t allow himself to accept it. Mary feels the pain for both of them.

I recommend this play as it is not only so well done, but it will also leave you reflecting on your own definition of success and the value of friendship. You could do worse than to ponder such things. And, you couldn’t do better than to see this production of Merrily We Roll Along at the Huntington.

Merrily We Roll Along
Through October 15
Huntington Theatre Company
Boston 617.266.0800 huntingtontheatre.org

The Royale Comes Out Swinging

The Royale

At The Merrimack Repertory Theatre, Lowell

Reviewed by Bobby Franklin

The Royal, directed by Megan Sandberg-Zakian, this year’s season opener at the Merrimack Repertory Theatre in Lowell, is a fast paced work that doesn’t let up for a moment during its 80 minutes. Very loosely based on Jack Johnson’s fight against Jim Jeffries it is the story of Jay “The Sport” Jackson who is the first black man to challenge for the Heavyweight Championship of the World.

Toran White and Thomas Silcott. Photo by Meghan Moore.

Jay Jackson is played by Thomas Silcott who brings us into the ring with and into the mind of the confident but conflicted challenger. Playwright Marco Ramirez has given him plenty to work with in this thought provoking play, and Silcott has an amazing presence on the stage. The dialogue is crisp and sharp like an action filled boxing contest. Ramirez not only gives us insight into what a fighter is thinking about while in the ring, but also deals with the wider implications of of having a black man win the white dominated championship in 1910.

Silcott has an amazing presence on the stage.

This conflict is sharpened by a conversation Jackson has with his sister Nina played by Ramona Lisa Alexander. Nina warns Jackson that his victory could result in violence against blacks across the nation, and she suggests subtly that it may be better for everyone if he lost. She feels that things are moving too fast and questions if Jackson is putting his personal gain ahead of his people. It is an intense back and forth that has the power of a hard fought boxing match.

Toran White, Mark W. Soucy, and Thomas Silcott.
Photo by Meghan Moore.

Mark W. Soucy plays the fast talking white promoter Max who also serves as reporter and commentator for the two boxing matches that take place in the play. His sharp dialog keeps the adrenaline flowing. As a ballyhooer he puts Don King to shame. You can feel the excitement build listening to him. He’s good.

Jeorge Bennett Watson as Wynton, Jackson’s trainer, and Toran White who plays Fish, Jackson’s opponent in the opening scene as well as his sparring partner for the big fight, are both excellent in their roles which are a bit lower octane but no less important. Wynton has been around the game for some time and seems a bit uncomfortable with the social implications of the fight. Fish is excited to be a part of such a great event but also is naive and is the character who elicits sympathy from the audience. Both actors are strong and very competent in their roles.

Lighting (Karen Perlow) and sound (David Remedios) are used very effectively. A scene where Jackson is hitting the heavy bag while his shadow is cast against the side and back of the stage is very powerful. Mr. Ramirez has said that he sees boxing as a percussive sport and incorporates a hip hop rhythm into the play. Something that works very well.

Ramona Lisa Alexander and Thomas Silcott.
Photo by Meghan Moore.

The fight scenes are different in that instead of having the boxers throw staged punches at each other they face the audience and punch towards them while also using the noise of stomping feet and claps to represent punches. It is a novel and very effective way to stage a fight and the accompanying dialog along with superb lighting allows us to step into the minds of the fighters.

 

The Royale is a boxing play but it is much more. In these heavily politicized times I am always fearful that a playwright will, as they too often do, preach to the audience about how it should think. Mr. Ramirez instead choses to leave us with questions. This is far more effective in helping bring us together to find common ground.

Whether or not you are a boxing fan, The Royale is a play that you should not miss.

The Royale
Through October 8
The Merrimack Repertory Theatre
Lowell, MA
MRT.org 978.654.4678

 

Men On Boats A Sinking Ship

Men On Boats

The SpeakEasy Stage, Boston

Reviewed by Bobby Franklin

Photo Credit: Nile Hawver/Nile Scott Shots

Men On Boats looked to be an interesting, thought provoking, and even edgy play. Unfortunately, it was none of those things. The story based on John Wesley Powel’s 1869 expedition down the Colorado River to the Grand Canyon has a cast made up of non male actors in the roles of the explorers. It is an interesting concept and one I was looking forward to.

Author Jaclyn Backhaus is quoted in an interview when asked if she would call it a feminist play that “I would like it to be one, if only to piss off the six or seven old white men who walked out during the first half of this past run.” Well, as an old white man all I can say to Ms Backhaus is the only thing about this play that pissed me off was the extraordinary tediousness of it. I would have been happy to have been offended, challenged, or provoked by this production. I appreciate edgy work even if I don’t agree with it. However, this was far from provocative. It was simply a dreadful waste of 100 minutes. If she wants to make people angry, and that is a very legitimate thing to do with theatre, she needs to do better than this. I would much rather be offended than bored to death.

I have always admired the SpeakEasy Stage Company for its willingness to put on new and challenging works. And I have no doubt they will continue to do so. We are lucky to have such a company in Boston I think it is important they do that, and I must say I have been influenced by many of the fine productions have seen there. This just is not one of them.

Men On Boats
Through October 7
The SpeakEasy Stage Company
617.933.8600 speakeasystage.com

Rest In Peace Jake LaMotta

The Bronx Bull Passes At 95

by Bobby Franklin

It has often been observed when someone has lived a long life that they have outlived their friends. Sometimes longevity is measured by how many doctors they have buried. In the case of Jake LaMotta who died last week at the age of 95, he managed to outlive his reputation. If Jake wasn’t, he certainly was very close to being a sociopath. He was a vicious guy who struck fear into all who knew him when growing up. Growing up during the rough years when LaMotta was a kid in New York City was tough. It led a lot of young men to a life of crime. Most were very tough and quick with their fists. But with Jake, he carried it further. For example, when robbing a jeweler he knew, he wasn’t satisfied with just scaring the guy and running off with the goods. No, he also had to nearly beat the man to death with a pipe. He also physically abused his wives. Jake truly seemed to take pleasure in causing physical harm to others. He had a sadistic streak in him. This character trait, if I may call it that, was featured in the Martin Scorsese film The Raging Bull. It is an ugly story about a vicious and cruel man.

The movie made LaMotta a household name again long after his boxing days were over. He never disputed his characterization as depicted in the movie. A few years earlier he had written a book with the same title and in it he didn’t hold back about his life. It isn’t that he was proud of what he had done, but he didn’t exactly appear to be ashamed by it either.

I first met Jake at a boxing writer’s dinner in New York City in 1971. I was a kid but remember the time well. I was seated next to a boyhood friend of LaMotta’s by the name of Toppy who also ended up in the Scorsese movie. He asked me if I would like to meet Jake. Well, of course I would. I was fanatical about boxing at the time and getting to meet one of the great champions was something that was very exciting for me.

Robinson vs LaMotta

Jake was moving about the room and made his way to our table. Toppy introduced us and Jake shook my hand. He was smoking a cigar and had a very aggressive personality. He was telling jokes and enjoying the attention. But, what I remember most was how tense Toppy and the other people at the table became. This was a 49 year old LaMotta. He was still relatively young and still a pretty edgy guy. I found out after he left the table the reason everyone was so tense. They were afraid of saying something that would set the former champ off. They al knew him well and knew how unstable he still was. Years later when I saw the movie Goodfellas the Joe Pesci character Tommy immediately reminded me of the LaMotta I met that night in 1971.

Strangely enough, even after the movie Raging Bull came out, somewhere along the line Jake turned from vicious sociopath into a elder statesman of boxing. I have to admit when I would see him years later wearing his cowboy hat he did look like a lovable character. I guess that can happen if you live long enough.

Vicki and Jake

I am not writing this to speak ill of the dead. I honestly believe Jake would not have a problem with this as he was always honest about who he was. I might also add that Jake was not a bully in the sense Mike Tyson was. Jake was crazy but, unlike bullies in the Tyson mold, he had no quit in him. He could not be intimidated physically. Tyson’s will could be broken, not so for LaMotta. I am not sure if that was guts or insanity, but for anyone in boxing it is a trait that is very much admired.

LaMotta is often underappreciated for his boxing skills. His reputation as a slugger is well deserved, but he was also a brilliant tactician. Contrary to popular belief, Jake did not just walk in with his chin sticking out. He was a master at rolling with punches. If you look closely at many of his fights you may at first think he is absorbing some brutal punches. Look a little closer and you will see how he is moving his head as those punches are landing. This head movement lessens the impact of the blows. Jake likened it to the way a baseball player will pull back his glove when catching a ball in order to better absorb the force of the ball.

Jake was also a master at feinting, parrying, and slipping punches. And, it should be noted, he had an excellent left jab. He showed how effective the jab could be when throw from a crouch. Yes, LaMotta was a true artist in the ring.

He was the top middleweight contender for years before getting a title shot. There are a couple of versions of the story why he didn’t get a shot earlier. They are similar. One has it that Jake wouldn’t play ball with the mob. The other has it that the mob wanted nothing to do with him as he was too crazy. At any rate, they finally did business. The deal was Jake would throw a fight against Billy Fox and then later get a title shot. He did throw the fight but not very convincingly. Nineteen months later he finally got his chance at the title, winning the belt from Marcel Cerdan. Jake was past his prime at this point in his career. He would hold on to the title for less than two years before losing it to his old rival Sugar Ray Robinson. He would fight off and on for just a few more years before retiring.

Jake LaMotta will most likely be remembered fondly by many. He certainly should be remembered as a great fighter and one of the top Middleweight Champions of all time. However, we should not forget that being a champion in the ring does not necessarily make you one out of it.

Oleanna Opens At New Repertory

The New Repertory Theatre Presents
Oleannna
by David Mamet
October 14 through November 5

Watertown, MA

“New Rep is proud to present this challenging play by one of its favorite playwright’s, David Mamet,” says Artistic Director Jim Petosa. “In the hands of director Elaine Vaan Hogue, the titanic talents of Johnny Lee Davenport and Obehi Janice will create a counterpoint of intensity that will bring the central conflict of this play into sharp focus.”
“New Rep is excited to welcome back both Johnny Lee Davenport and Obehi Janice to our stage,” says Managing Director Harriet Sheets.

“Johnny Lee returns after his masterful portrayal in our acclaimed productions of Thurgood and The Whipping Man and Obehi returns after her powerful performance in Lydia Diamond’s The Gift Horse last season. We hope New Rep audiences will enjoy watching these two powerhouse performers together in David Mamet’s classic drama.”

JOHNNY LEE DAVENPORT* (John) returns to New Repertory Theatre after performing in Thurgood, The Whipping Man, and A House with No Walls. Other area credits include The Unbleached American (Stoneham Theatre); It’s A Wonderful Life, A Radio Play (Wheelock Family Theatre); Water by the Spoonful and Broke-ology/Elliot Norton Award, Best Actor (The Lyric Stage Company); Driving Miss Daisy and Master Harold…and the Boys (Gloucester Stage Company); and Invisible Man/Helen Hayes Award, Best Ensemble (Studio Theatre Washington, D.C. and The Huntington Theatre Company). Mr. Davenport has played more than 50 roles in 24 of Shakespeare’s plays including Richard III (Commonwealth Shakespeare Company); Pericles (Actors’ Shakespeare Project); and Richard II (Shakespeare & Company). Film credits include Ted, The Fugitive, U.S. Marshals, and Ascendants. He was named Best Actor in Boston Magazine (2011). johnnyleedavenport.com

OBEHI JANICE* (Carol) returns to New Repertory Theatre after performing in The Gift Horse and New Rep’s Next Voices New Play Reading Series. Recent credits include Love’s Labour’s Lost (Commonwealth Shakespeare Company); We’re Gonna Die (Company One Theatre/American Repertory Theater); An Octoroon (Company One Theatre/ArtsEmerson); Mr g (Underground Railway Theater); her solo show FUFU & OREOS (IRNE Nomination, Best Solo Performance, Bridge Repertory Theater); Arabian Nights (Central Square Theater); It Felt Empty (Theatre on Fire); and Splendor (Company One Theatre). A graduate of Georgetown University, Obehi was named “Boston’s Best Actress” by The Improper Bostonian in 2014. Her comedic short, Black Girl Yoga, won the Reel 13/AfroPunk Film Competition (WNET/New York Public Media). American Theatre magazine named her one of “6 Theatre Workers You Should Know” in February 2017. She was also the TCG Fox Foundation Resident Actor at Company One Theatre from 2015-2017. Originally from Lowell, Massachusetts, she currently resides in Medford. obehijanice.com

ELAINE VAAN HOGUE (Director) is a director, actor, and teacher. Previous productions at New Repertory Theatre include directing Baltimore, The Amish Project, Imagining Madoff (Elliot Norton nominee for Outstanding Production), The Kite Runner, and co-curating the inaugural Next Rep Black Box Festival in 2014. Regional directing credits include A Disappearing Number (URT @ Central Square Theater); Metamorphosis (Boston Center for American Performance); Walking the Volcano (Boston Centerfor American Performance/Boston Playwrights’ Theatre); Crave (Nora Theatre Company); Thin Air: Tales from a Revolution (Kansas City); Infinity’s House (Majestic Theatre); Fen (New Theatre); The Penelopiad, Execution of Justice, Lizzie Stranton, The Trestle at Pope Lick Creek, The Other Shore, Angels in America, Three Sisters, Pains of Youth, Polaroid Stories, Marisol, and many others (Boston University). As an actor she has performed in The Road to Mecca (Boston Center for American Performance); Creation: Mythic Weavings (Women on Top & Magdalena USA); When Jennie Goes Marching (Olney Theatre & Spontaneous Celebrations). She is a member of the Magdalena Project, an international network of women in contemporary theatre, and is a participant in an international cyber-performance group collaborating in All the Better To See You With (Odin Teatret), MagFest KISS (Amsterdam), trans-hack- feminist UpStage Jam (Eclectic Tech Carnival). Ms. Vaan Hogue serves as Program Head of Theatre Arts at Boston University. Originally from Los Angeles, she resides in Central Massachusetts.

New Repertory Theatre presents Oleanna, October 14-November 5, 2017 in the MainStage Theater at the Mosesian Center for the Arts, 321 Arsenal Street, Watertown, MA. New Rep Box Office at 617-923-8487 newrep.org.

Ogunquit Playhouse to Stage From Here to Eternity

North American Rollout Of New Musical 

Runs October 4 through 29

The Ogunquit Playhouse is honored to be part of the North American rollout of the new musical From Here to Eternity, on stage October 4 through 29. The musical is based on the acclaimed novel (which also became a multi-Academy Award-winning film), by James Jones with lyrics by Tim Rice, book by Donald Rice and Bill Oakes and music by Stuart Brayson. As part of its development path to Broadway, Sir Tim Rice is collaborating with the Ogunquit creative team to mount this compelling new musical set in Hawaii in the weeks before the 1941 attack on Pearl Harbor. “The epic story by WWII veteran James Jones, From Here to Eternity, is one of the most searing, honest and romantic views of the men and women who served our country during World War II. The way in which this story had to be told more than 60 years ago due to censorship, softened some of the reality of military life at that time. Today, we are able to tell the story as it was originally intended, revealing the grit and intrigue of military life that Mr. Jones experienced. It has been a great honor to collaborate with Sir Tim Rice, Donald Rice, Brett Smock and our entire creative team on this new musical adaptation to tell this iconic American story in a new way,” said Ogunquit Playhouse Executive Artistic Director Bradford Kenney.
This epic tale follows the powerful story of two U.S soldiers, the soulful Private Prewitt played by Derek Carley and ardent Sergeant Warden, played by Kevin Aichele, as they embark on doomed and dangerous love affairs with the wrong women. The sultry wife of G Company’s commanding officer, Karen Holmes, is played by Robyn Hurder, and Lorene, the beautiful escort who is looking to make a better life for herself, is played by Jenna Nicole Schoen. As the infamous date of December 7th approaches, the claustrophobic world of the four lovers and the desperation of the soldiers of G Company splinter amidst an escalating war. The compelling story of men at war along with a fantastic new score is not to be missed.
Returning to the Ogunquit Playhouse is Bradley Dean as Captain Dana Holmes, commanding officer of G Company. Mr. Dean last appeared in 2016’s The Hunchback of Notre Dame as Frollo, for which he was nominated for an Independent Reviewers of New England (IRNE) Award for Best Actor in a Musical. On Broadway he has starred in numerous productions including Dear Evan Hansen, A Little Night Music, The Last Ship, Doctor Zhivago, Monty Python’s Spamalot, The Story of My Life, Evita, and Man of La Mancha.

Kevin Aichele (First Sergeant Milton Warden) most recently portrayed Warden in the Finger Lakes Musical Theatre Festival production of From Here to Eternity. Some of his selected credits include, Sam in Mamma Mia!, Captain Von Trapp in Sound of Music, and Javert in Les Miserables. Derek Carley (Private Robert E. Lee Prewitt) regional credits include Ghost, Daddy Long Legs, Titanic, Big, and Gay Bride of Frankenstein, and he was in the first National Tour of Flashdance. Robyn Hurder (Karen Holmes) returns to the Ogunquit Playhouse after previously starring as Norma Cassidy in 2015’s Victor/Victoria. On Broadway she has performed in Nice Work if You Can Get It, Grease, Chicago, Wedding Singer, and Chitty Chitty Bang Bang. Ms. Hurder starred in NYCC Encores! productions of The New Yorkers, and Paint Your Wagon, as well as Off-Broadway in Play It Cool. She was in the National Tours of A Chorus Line, Monty Python’s Spamalot, and Starlight Express. Jenna Nicole Schoen (Lorene) recently appeared in the National Tour of Jersey Boys. Her regional theatre credits include CATS and Monty Python’s Spamalot at Pittsburgh CLO, Theory of Relativity at Goodspeed Opera House, and La Cage Aux Folles at Theatre By The Sea. Michael Tacconi (Private Angelo Maggio) is reprising his role from the Finger Lakes production of From Here to Eternity, and recently portrayed Nick in New World Stage’s Bare. Mr. Tacconi has also appeared on television on ABC’s The Family, and LMN’s I Love You…But I Lied. Reed Campbell returns to the Ogunquit Playhouse as Sergeant James Judson. He was seen earlier this season in his critically acclaimed performance as the hit-man “Cheech” in Bullets Over Broadway. Mr. Campbell was Cookie McGee in the National Tour of Nice Work If You Can Get It, and performed off-Broadway in Important Hats Of The Twentieth Century at the Manhattan Theatre Club, in The Comedy Of Errors at The Public Theater’s Shakespeare in the Park, and regionally as Judas Iscariot in Stage 773’s The Last Days Of Judas Iscariot.
www.ogunquitplayhouse.org 207-646-5511.

When Everyone Knew Who The Heavyweight Champion Was

The Boxing Kings:
When American Heavyweights Ruled The Ring
By Paul Beston
Rowman & Littlefield
356 Pages

Reviewed by Bobby Franklin

From the time of John L. Sullivan up to the reign of Mike Tyson just about everybody knew who the Heavyweight Champion of the World was. It was the most prestigious of all sporting titles and the man who held it was one of the most famous, if not the most famous man on the planet. From 1885 up to 1990 only 30 men were able to claim that title.

Being the Heavyweight Champion went beyond just winning fights. Unlike other sports, the Champ did not compete as part of a team. This was a solitary accomplishment that was the epitome of rugged individualism. It took more than just physical prowess to win the title, it also took strength of character and a determined will.

People who have come to the sport of boxing in recent years have no idea what an important figure the Heavyweight Boxing Champion was to past generations. In that period I doubt there was a boy alive who didn’t at one time dream of holding the title. The history of those men who did reach that goal is a very rich one that often mirrors society as a whole. While many books have been written about individual title holders, there has been a need for a broad history of the era when everyone knew the names John L. Sullivan, Jack Dempsey, Joe Louis, Rocky Marciano, Muhammad Ali, and many others.

Now, thanks to Paul Beston, the Managing Editor of City Journal, that need has been filled. In The Boxing Kings: When American Heavyweights Ruled The Ring Mr. Beston tells the story of these unique individuals with insight and respect while at the same time not glossing over their weaknesses. If you are not already familiar with this history there is no better book for you to learn from. If you are an experienced boxing fan you will find this work refreshing and informative. I consider myself to be a bit of a boxing expert and I still found much that was new to me while reading this lively narrative.

It was interesting to find out that John L. Sullivan, who is well known for drawing the color line when it came to defending the title against black challengers, was one of the first people in the ring to congratulate Jack Johnson, the first black champion, when he defeated Jim Jeffries. Sullivan also rode on the railroad car with Johnson and his black supporters after the fight. There may have been an ulterior motive for Sullivan’s actions, but it is still surprising to read about this considering the time in which it took place.

There is so much more. Johnson, who is seen today as a man who stood up and broke through the color line drew one of his own and would not defend the title against some of the finest “colored” heavyweights of his day. Johnson, with his extreme behavior, not only offended whites but finally even blacks who did not find him a good example for their children. To quote the author, “As a black man living on his own terms-not those of whites, not those of blacks, and not those of Booker T. Washington or W.E.B. DuBois-Johnson had no home in the America of his time. But he didn’t have to make the choices he made.”

Mr. Beston moves through the years concisely but without giving short shrift to any of the personalties involved.

Mr. Beston moves through the years concisely but without giving short shrift to any of the personalties involved. In the case of Jack Dempsey, a man who would become one of the most beloved figures in the history of sports, we learn he had his problems stemming from his not having served in the military during WWI. It was a stain that would haunt the great champion for years. Yet, even with that baggage his magnetism provided for the first million dollar gates in history. Dempsey also brought boxing out of the shadows and into the mainstream.

Mr. Beston shines in this book in that he not only has done painstaking research, but he is also a great writer who never gives his readers a dull moment. In a chapter entitled The Substitutes he covers the period between Dempsey and Joe Louis. For many this time is looked upon as a lull between two great champions, but it was actually a fascinating period. It was during this time that two of the champions were not from the United States, making it truly a world championship. As that world was slipping into chaos it appeared the Heavyweight Championship was too. Max Schmelling won the title on a foul, the only fighter ever to do so. Gangsters were becoming heavily involved in the game, and there was even a question of whether or not Jack Sharkey threw his fight with Primo Carnera.

It took Joe Louis to bring stability and honor to the sport. While reading Mr. Beston’s chapter on the Louis years one is filled with joy and sadness. Louis was not only arguably the greatest heavyweight of all time, but also one of the most important figures of the 20th Century when it came to unifying the nation and breaking down racial barriers. Louis does not receive the credit he deserves for all he accomplished. He is given his due here. As Mr. Beston writes “Louis was a light in black America’s darkness, and a generation would never forget him for it.” When reading that line I can’t help but think of how Muhammad Ali would later mock the aging champion.

Louis was the first black golfer to play in a PGA event, another wall he broke through. I have to admit I was almost bought to tears reading about Joe’s days after boxing. This man who had done so much for boxing and for his country was hounded for years by the IRS and relegated to being a greeter in LasVegas. Paul Beston gives this great man the respect he earned and deserves.

Mr. Beston brings us Rocky Marciano, the Brockton Blockbuster. Marciano possessed the grit, determination, and sheer will that allowed him to overcome his physical shortcomings to become the only undefeated champion in history. He was also a hero to working class America. Following Rocky, Floyd Patterson’s rise to the throne ushered in a period when boxing appeared to be fading away. Then along came the colorful and handsome Swede Ingemar Johnson who briefly shot some adrenaline into the veins of the sport. We see Sonny Liston, the man whose stare paralyzed opponents and whose lifestyle made him unwanted as champion. Mr. Beston gives us insight into this complicated man who is almost impossible to understand. If boxing were the works of Shakespeare, then Liston would be one of the “problem plays”.

In reading the chapter on Muhammad Ali, the man who certainly saved boxing but at at a cost, I can’t help but think of how different things would have been if Ali had made some other choices. His decision to become part of a radical black separatist movement that preached racial hatred was so at odds with the unifying movement led by Martin Luther King Jr. This charismatic young champion could have done so much to further race relations but chose to take a different path. It is ironic he is looked upon as a great Civil Rights leader when he preached separation of the races. Mr. Beston gives us much insight into Ali’s career, but I think he could have a whole book just on this one subject where he would be able to delve more deeply into this subject.

Paul Beston closes his history with the years following Ali and ends with Lennox Lewis taking over as champion. In these chapters he discusses the bitterness of Larry Holmes and even made me feel some sympathy for Mike Tyson. He gives his thoughts on why the Heavyweight Champion is no longer a recognizable figure.

Paul Beston’s work is truly worthy of the Championship Crown.

I read a lot of books on boxing. There are a number of good ones out there. However, some are well researched but poorly written and not well edited, while others are plain awful. In The Boxing Kings we have the rare book that is well researched, well written, lively, informative, and fully conveys the author’s love for the sport while taking an honest view of it. If books were fighters some would be tomato cans, some journeymen, some contenders, and a very few would be Champions. Paul Beston’s work is truly worthy of the Championship Crown. I highly recommend it.

 

 

A Powerful Musical In Ogunquit

From Here To Eternity: A New Musical
The Ogunquit Playhouse

Reviewed by Bobby Franklin

James Jones was at Pearl Harbor on December 7, 1941. He had enlisted in the U.S. Army before the war and was stationed in Hawaii in what seemed like a world away from the war raging in Europe that threatened to include the United States. Army life even before the war was not easy. Many of those who enlisted were living very difficult lives in Depression Era America and looked at the Army as being a way out.

Derek Carley and Company
(Photo Credit: Gary Ng)

Jones wrote about his experiences during this time in the novel From Here to Eternity, which was later made into an Academy Award winning movie. The novel was a no holds barred look at Army life during that period. It was not pretty. The movie shows much, but not all, of what Jones wrote. Now, a musical play with lyrics by Tim Rice, music by Stuart Brayson, and book Donald Rice & Bill Oakes presents us with a work that is much closer to the original novel. It is a painful story but it is told with understanding and sympathy for those involved. All the characters are based on people James Jones knew while serving.

The set at the Ogunquit Playhouse is atmospheric. With large palm trees and multiple levels with lattice work that reaches to the ceiling the beauty of Hawaii is felt but with a dark overtone. Subtle set changes along with images being projected on the walls are used to set the different moods and they are used well.

Kevin Aichele and Company
(Photo Credit: Gary Ng)

The score is outstanding and hits hard and fast with the opening number G Company Blues. The choreography is tight and very physical, conveying the hard life these men lived. Other songs such as Thirty Year Man, Don’cha Like Hawaii, and I Love The Army. Something In Return is an amazing number that was superbly done. It allows us to experience the hope and despair of those stationed on the island as well as the women who share this difficult life. These women include prostitutes and the wife of an ambitious and cruel officer.

Those familiar wth the book and/or movie will quickly recognize most of the characters. If not, they will quickly become known to you. The outstanding cast plays each as their own, and with their solid acting and beautiful voices make this a very powerful work indeed.

The story of cruelty and the misuse of power hardly seems the material for a musical but it works and works well here. With an outstanding cast led by Derek Carley as Private Prewitt and Kevin Aichele in the role of Sargent Warden the pain and struggles of these individuals is brought to life in a way that is both painful to watch but done with tenderness and compassion.

Robyn Hurder plays Karen Holmes the abused wife of the ambitious but weak Captain Dana Holmes played by Bradley Dean. They make the ugliness of such a marriage almost too real, but it is necessary. We do get to see the tender side of Karen in her scenes with Sargent Warden with whom she is having an affair. And for those who might be wondering how the famous beach scene from the movie is recreated, I will just say this is not a staging of the movie; however, the emotions from that iconic movie movement are captured here.

Michael Tacconi and Reed Campbell
(Photo Credit: Gary Ng)

The wise cracking Private Angelo Maggio has been cast perfectly with Michael Tocconi in the role. His rendition of I Love The Army is heart wrenching. Reed Campbell returns to the Ogunquit stage after his outstanding performance in Bullets Over Broadway, and proves that he was no one shot wonder. He again shows his amazing talent as the sadistic Sargent Fatso Judson. By the time Judson gets what is coming to him there is nobody in the house who feels sympathy for him.

Jenna Nicole Schoen plays the prostitute Lorene that Private Prewitt falls for. She has a beautiful voice and is wonderful in her part. Ms Schoen captures in her character a loving woman who has had to turn her feelings off in order to survive in a hard world. Private Prewitt manages to break through the wall she has put up. Jodi Kimura as Sandra, the madame of the local brothel, conveys the combination of a jaded life along with
compassion and understanding.

The finale with the attack on Pearl Harbor is spectacular with slow motion sequences from the actors as well as magnificent use of the projection equipment that brings the audience into that infamous day. It also shows us how life has been transformed by world events and the tragic consequences of people who wield their power, no matter how small, over others with cruelty that result in such horrific consequences. The song The Boys of 41 which is reprised at the end of the play is poignant and moving as we see the names of those who gave their lives projected onto the walls of the theatre.

I do have to mention the amazing job Richard Latta has done with the lighting for this production. The subtle changes are so very effective in setting the mood for the different scenes.

From Here To Eternity at the Ogunquit Playhouse is truly an experience not to be missed. Artistic Director Brad Kenney has closed out the Playhouse’s 85th season in spectacular fashion.

Just a final note. This is not a play that would be appropriate for children. It does handle the serous themes in a tasteful way but I believe it could be disturbing for children.

From Here To Eternity: A New Musical
The Ogunquit Playhouse
Ogunquit, Maine
Through October 29
ogunquitplayhouse.org
207.646.5511

“I Fought Willie Pep”

by Mike Silver

“He’s in front of you, in back of you. He’s all over the damn place. But he never stood toe to toe with you.”

The date was June 5, 1953. Thirty year old former featherweight champion Willie Pep, one of boxing’s all-time greats, was in trouble. For eight rounds the 3700 fans in Madison Square Garden and a national television audience of several million had been treated to another brilliant performance by the man who defined the art of boxing. The elusive “Will o’ the Wisp” was giving Brooklyn’s tough Pat Marcune a boxing lesson when the tenor of the bout abruptly changed. Moments before the round was to end Marcune bounced a left hook off Pep’s brow that opened a deep gash.

Pat Marcune

During the one minute rest period the ringside physician visited Pep’s corner. He took one look and advised the referee to halt the fight if the cut continued to bleed. Pep’s seconds worked frantically to patch him up. At the bell starting the ninth round an inspired Pat Marcune charged out of his corner intent on ending the bout. Pep, fearing the bout would be stopped, planted his feet to get more leverage into his punches. He had to try and stop Marcune before the cut reopened. The round was the most competitive of the fight.

At the conclusion of the round the doctor climbed into the ring again to take another look at Pep’s damaged brow. He nodded to the referee indicating the bout could continue. Marcune, way behind on points but on the verge of a huge upset, knew what he had to do—but he had to do it quickly.

A victory over Willie Pep was a rare happening. In 13 years and 184 previous fights only three opponents had been able to chalk up a win. Would 25 year old Pat Marcune’s name be added to the list? He possessed a modest but respectable record that included 36 wins against 11 losses and 2 draws. Over the past year he had shown steady improvement. Leading up to the bout Marcune had scored impressive victories over Tito Valles, Bill Bossio, Eddie Compo and former featherweight champion Lauro Salas. In May 1953 he was rated the 10th best featherweight in the world by The Ring magazine.

Marcune was expected to give a credible showing, but very few thought he had a chance to win. Nevertheless, he’d already achieved a victory of sorts. For no matter what else he accomplished the highlight of Pat Marcune’s boxing career would always be his ten round bout with Willie Pep. How many people can say they fought one of the greatest boxers who ever lived?

Willie Pep is no longer with us, but I am happy to report that Pat Marcune is alive and well. I caught up with the 90 year old former featherweight contender in his home on Staten Island where he lives with his daughter. (Pat’s wife passed away in 2013). Despite his age and the wear and tear of 60 professional bouts Pat is spry and alert. He even jogs three times a week to keep in shape. Of course the first question I asked was about the Pep fight.
“I pressed him the entire fight but Pep was very shifty and very difficult to hit”, said Marcune. “He’s in front of you, in back of you. He’s all over the damn place. But he never stood toe to toe with you.

“I was a young kid and Pep was on his way out. But he was a great boxer. I don’t think I could ever duplicate him. A win over Pep would have put me in line for a title shot but that was not my main goal when I turned pro in 1949. I just wanted to fight the main event in Madison Square Garden. That was the big thing. To be champ would be something, but, like Brando said in On the Waterfront, ‘I coulda been somebody. I coulda been a contender’. I wanted to be a contender, but most of all I wanted to top the card at the most famous arena in the world.”

Within four years of his professional debut Pat had accomplished both goals. He became a contender and also topped the card at the Garden not once but twice (vs. Lauro Salas 13 weeks earlier).

Pat Marcune fought in an era when boxing had eight undisputed world champions in eight traditional weight classes. Eight champions! The idea seems almost quaint today but that’s the way it was for over half a century before a gaggle of competing quasi-official “sanctioning organizations” in cahoots with rapacious promoters took control of the business in the late 1970s and destroyed forever boxing’s traditional infrastructure. Perhaps most obscene of all, the boxers are forced to pay hefty “sanctioning fees” out of their own pocket for the “privilege” of fighting for an organization’s title belt. Since the 1980s hundreds of obscure boxers of dubious quality have fought for a title. The only people happy about that are the leeches who run the sanctioning organizations. Currently there are over 90 “world champions” spread across 17 weight classes. Even the most enthusiastic boxing fan cannot name more than a few of them.

How different it was during Pat Marcune’s day when everyone knew the names of the champions and top contenders. The featherweight title (126 pound limit) was ruled by the awesome Sandy Saddler, a ring great who won the title from Pep in 1949, but lost it back to him in 1950. Saddler subsequently defeated Pep twice in rematches. Rocky Marciano, the indestructible “Brockton Blockbuster”, was heavyweight champ. The ageless wonder Archie Moore was king of the light heavyweights and Cuban’s colorful Kid Gavilan ruled the welterweights. The incomparable Sugar Ray Robinson, as close to a perfect fighter the sport has ever seen, had recently given up the middleweight title to enter show business. A tournament involving the four top rated contenders was underway to determine a new champion.

These were the waning years of boxing’s great golden age of talent and activity that spanned the 1920s to the 1950s, an era when champions and contenders achieved their status the old fashioned way—they earned it. There were no shortcuts to a title shot or contender status. Pat Marcune had 44 fights before engaging in his first ten rounder.
“Today guys are winning titles with just nine fights, or whatever it is”, said Pat. “That’s ridiculous. I’d be glad to fight a guy for the title who just had nine fights. They’re beginners.”

I asked Pat how he was able to avoid the debilitating neurological damage suffered by so many ex-professional boxers. “I knew how to fight” he said. “The reason I’m talking like this is that I never took that kind of punishment. I was an aggressive fighter but I tried to avoid getting hit. Today’s fighters take too many punches. I don’t think they get the proper trainers. They’re all gone.

“The fighters I see on television couldn’t compare with the fighters in my time”, he said. “They were tougher and more talented. Today’s fighters are not hungry enough. Remember Ike Williams? There were so many good fighters. I would see them in Stillman’s gym. Guys like Beau Jack, Rocky Marciano, Roland LaStarza and Archie Moore. Pep was on top of all of them. Him and Ray Robinson.”

Pat did his roadwork on the Coney Island boardwalk. “From the boardwalk I’d run down to Ocean Parkway, then to Seagate and back. I used to meet Herbie Kronowitz and Vinnie Cidone and other boxers doing their roadwork on the boardwalk. I miss those days.”
One of the fondest memories of his fighting days was the huge block party his Coney Island neighbors threw for him when he knocked out Brooklyn rival Tommy Pennino, who was an undefeated Golden Gloves champ.

As often happens with opponents who were once bitter ring rivals, Pat maintained a decades long friendship with former featherweight contender Bill Bossio. Their first bout on March 8, 1950 was so exciting promoters brought them back six more times, including three semi-final eight rounders in the Garden. They were tied at 3 wins apiece when Marcune won their last fight in 1952 by a split 10 round decision at Brooklyn’s Eastern Parkway Arena.

Pat is also proud of the friendship he maintained with heavyweight contender Roland La Starza and light heavyweight champ Archie Moore. He met both while training in Stillman’s gym in the early 1950s and stayed in touch with them for years.

Despite the good memories he is also mindful of the downside of his brutal profession. “I got destroyed by the fight game”, he said. “Lost the sight in one eye, got my nose busted, busted my ears. I’ll show you a picture of what I looked like before I started fighting”. He produced a photo of a strikingly handsome young man in a Coast Guard uniform. Pat at the age of 17. He had just enlisted in the Coast Guard in the spring of 1945.

Pat realized he was passed his prime as a fighter after consecutive losses to featherweight contender Miguel Berrios and future junior lightweight champion Harold Gomes. He announced his retirement in 1956. His final stats were 38 wins against 19 losses and 3 draws. Twenty of his victories had come via knockout.

Needing a steady source of income to support his wife and infant son, Pat opened up a retail jewelry establishment. He operated the business for several years before selling it and taking a job with the Port Authority of New York, working in their maintenance department for 20 years.

Although Pat no longer worked for the Port Authority when America was attacked on September 11, 2001, he was quick to respond. He used his PA badge to gain access to Ground Zero where he volunteered to be part of “the bucket brigade” that helped to remove tons of debris. He believes the throat cancer he was diagnosed with a few years ago may have been caused by his exposure to the toxins at the site. Fortunately his cancer never progressed beyond stage one and he is now free of the disease.

Less fortunate was his son Patrick, an officer with the New York City police department. Patrick was a first responder and worked for weeks at Ground Zero. Like so many other first responders he later became sickened by the toxic dust clouds and developed a variety of illnesses, including respiratory disease and cancer. Previously robust and healthy, Patrick was constantly ill in the years that followed 9/11and passed away from cancer in 2009 at the age of 55. His father wears a replica of his son’s policeman’s shield on a chain around his neck.

Oh, I almost forgot! I want to tell you what happened in the crucial tenth round of Pat’s bout with the peerless Willie Pep. At the close of the ninth round Pat was hurt by a flurry of punches. He wasn’t fully recovered when the bell rang for the start of the tenth round. Pep quickly backed him against the ropes and was landing shots but Pat wouldn’t go down. The round was only 14 seconds old when the referee—former featherweight champion Petey Scalzo—jumped in between the fighters and called a halt, awarding the bout to Pep. The following day The New York Times, while acknowledging Pep’s superior boxing skills reported that “the Coney Island warrior gave a fine display of courage as he absorbed Willie’s punches.”

To no one’s surprise Pat objected to the stoppage. To this day be believes the referee purposely acted hastily to end the bout because Pep, in jeopardy of losing on a tko, had the right connections and he did not. But it really doesn’t matter. What does matter is how he lived his life after his boxing career ended.

Pat Marcune never won a world championship but to his everlasting credit when his city suffered a horrific terrorist attack, he did not hesitate to step up to the plate, as did his noble son, to give selflessly of himself in the service of others. If that’s not the definition of a true champion, I don’t know what is.

Note: Boxing historian Mike Silver is the author of “The Arc of Boxing: The Rise and Decline of the Sweet Science” (McFarland Publishing, 2008), and most recently “Stars in the Ring: Jewish Champions in the Golden Age of Boxing: A Photographic History” (Lyons Press, 2016)

NEW REPERTORY THEATRE PRESENTS

MAN OF LA MANCHA

BY DALE WASSERMAN
DECEMBER 1-24, 2017


New Repertory Theatre presents Man of La Mancha, December 1-24, 2017 in the MainStage Theater at the Mosesian Center for the Arts, 321 Arsenal Street, Watertown, MA. Music by Mitch Leigh, Lyrics by Joe Darion, original production staged by Albert Marre. Originally produced by Albert W. Selden and Hal James. Directed by Antonio Ocampo-Guzman. Music direction by David Reiffel. Movement Direction by Judith Chaffee.

“It has become a New Rep tradition during the holiday season to present a play that invites audiences of all ages to revel in this celebratory time of year,” says Artistic Director Jim Petosa. “This year we dream the impossible dream as we present the Tony-award winning musical Man of La Mancha. This classic musical adventure recounts the boundlessly idealistic tale of Don Quixote, epitomizing our season’s theme of resilience. We’re thrilled to bring this spirited revival to New Rep this winter.”

“New Rep is pleased to welcome so many new faces to our stage for our holiday production of Man of La Mancha,“says Managing Director Harriet Sheets. “Besides those joining us for the first time, we welcome back director Antonio Ocampo-Guzman and long-time collaborator Maurice Emmanuel Parent in the role of Don Quixote. Maurice’s presence on our stage over the years has been a highlight of many seasons, so we’re excited that he’s able to join us once again in this starring role.”

Tickets may be purchased by calling the New Rep Box Office at 617-923-8487 or visiting newrep.org.

THE HUNTINGTON THEATRE PRESENTS

TARTUFFE  BY MOLIÈRE

November 10 through December 10

The Huntington Theatre Company presents the brilliant classic comedy Tartuffe by Molière, directed by Huntington Theatre Company Artistic Director Peter DuBois (Sunday in the Park with George), translated by Ranjit Bolt, and featuring actor and comedian Brett Gelman (Murray Bauman on the upcoming season of Netflix’s “Stranger Things” and “Dinner with Brett Gelman” specials on Adult Swim) as Tartuffe and Tony Award winner Frank Wood (Side Man and August Osage County on Broadway and HBO’s “Flight of the Conchords”) as Orgon. Performances run from November 10 through December 10, 2017 at the Avenue of the Arts / Huntington Avenue Theatre.

“This production of Tartuffe is going to be everything you expect from Molière,” says Huntington Artistic Director Peter DuBois, “complete with a spin on period fashion and the brilliantly comic possibilities of staging this classic play for a modern audience. Boston is going to see 2017 alive onstage within the framework of a 17th century farce, and the result will be satirical, smart, and a gut-buster.”

Ranjit Bolt’s translation of Tartuffe premiered at the National Theatre in London in 2002. Many English translations of Tartuffe discard the rhyming couplets, but Bolt’s translation remains faithful to the way Molière wrote the French verse. For Bolt, verse provides a vehicle for examining the ridiculous; his imaginative use of language contrasts with the formal structure of the verse to create an explosively witty text. Audiences can use verse to “escape through anarchy into a surreal world,” Bolt says. “The joy of the verse is the contrast between the discipline of the form and the ludicrous nature of what’s being described.”

DuBois chose the Bolt translation because he thought it captured the energy necessary for his direction: free and loose while still clever and sophisticated. “I knew I wanted a translation that sang in the mouths of actors — that had rhythm and speed,” DuBois says. “Bolt’s translation reads well, but it sounds even better. He captures everything that is joyful and fun about rhyming verse across languages, never becoming rigid or stuffy.”

huntingtontheatre.org, 617 266 0800, Huntington Theatre, 264 Huntington Ave., Boston

Opening At The Lyric Stage

Hold These Truths

by Jeanne Sakata
Directed by Benny Sato Ambush
Choreography by Jubilith Moore

December 1-31, 2017

Hold These Truths is the true story of Gordon Hirabayashi, the American son of Japanese immigrants, who resisted internment during World War II, a policy which continues to be cited and debated today.  Michael Hisamoto (Stage Kiss) plays Hirabayashi, a college student and a Quaker, whose hope and unquenchable patriotism over 50 years will leave audiences cheering.  The theatricality of this production will be enhanced by the addition of three kurogos, stage assistants/dancers who make magic happen in the Kabuki tradition.

FEATURING:    Michael Hisamoto with Khloe Alice Lin, Gary Thomas Ng, Samantha Richert

Lyric Stage, 140 Clarendon Street, Copley Square, Boston
boxoffice [at] lyricstage [dot] com or call 617-585-5678.

Words That Sparkle

Tartuffe At The Huntington

Reviewed by Bobby Franklin

You could sit through the current production of Moliere’s Tartuffe now playing at the Huntington Theater with your eyes closed and have a wonderful evening. Open your eyes and the experience is sublime.

…a fast paced feast of words that never lags, not for even moment.

Director Peter DuBois chose to use a new translation by Ranjit Bolt which is all in verse, done in octameter (eight syllables per line), with rhymed couplets. The result is a fast paced feast of words that never lags, not for even moment.

The play, set in a Manhattan style terraced apartment with Louis XVI furnishings, is about family patriarch Orgon (Frank Wood) who is conned by the religious charlatan Tartuffe (Brett Gelman). All around him are able to see through Tartuffe but none can convince him of what is happening. The opening scene sets the tone where Dorine (Jane Pfitsch), the outspoken servant and truth teller, is reporting to Orgon on what has happened at home while he was away. To Dorine’s frustration, all he wants to know about is Tartuffe. Ms Pfitsch is very strong in her role and never misses a beat.

Frank Wood (Orgon) and Brett Gelman (Tartuffe)
(Photo Credit: T. Charles Erickson)

While Tartuffe is often described as a hypocrite, preaching fealty to God while trying to bed down his follower’s wife and steal his fortune, he is “a rare trickster” who has no convictions to be unfaithful to. He is fully aware of all he is doing and has carefully planned out his plot. Orgon’s weakness is his own hypocrisy. He has supposedly become a man of the Lord while now turning his back on his family, so much so that he is giveing his home over to Tartuffe and even promises his daughter’s hand in marriage to him. He also remains blind to the advances his idol is making towards his wife Elmire (Melissa Miller).

Brett Gelman’s Tartuffe is barely seen until late in Act I, but when he does arrive he is impressive. Wearing a black fez, long coat, and with religious symbols hanging from his neck, he is the picture of phony piety. Though obviously sleazy, he is also very funny as he manipulates Orgon while fending off being exposed by those around him. Frank Wood conveys just enough weakness to be vulnerable to a con man, but at the same time is someone who certainly should know better.

A scene where Orgon is hiding under a table while Tartuffe is attempting to seduce Elmire is sidesplittingly funny. Melissa Miller and Brett Gelman show off their wonderful comedic talent, while Mr. Wood is a positive riot as he is peaking out from under the table.

There is never a dull moment.

The words, the movements, the glances all make this just a joy to watch. The verse keeps them all so well connected and everything just flows. There is never a dull moment.

This play is very, very funny. It is also ironic that with all of the wonderful language, one of the funniest scenes is when Orgon and Elmire’s daughter Mariane (Sarak Oakes Muirhead) is caught in the middle of an argument about her future. Ms Oakes is positively hysterical without saying a word. Her movement about the stage and her facial expressions are simply hilarious.

Paula Plum swings a mean walking stick in the role of Madame Pernelle, Orgon’s mother. Matthew Bretschneider as Orgon and Elmire’s son Damis is a riot as he is recording the madness on his IPhone. Kate Elinoff is not on stage for long, but she manages to get a couple of the biggest laughs in the role of Madame Pernelle’s maid. Again, ironically, she does this without saying a word, but her facial expressions are priceless. Matthew J. Harris is solid as Cleante, a voice of reason and calm. Gabriel Brown brings a charm to his role as Valere, Mariane’s fiancee. And be sure to pay attention as Steven Barkhimer’s Laurent ascends the stairs in his religious garb. As Tratuffe’s servant he brings a touch of Marty Feldman’s Igor from Young Frankenstein to the play. The entire cast is just wonderful.

Melissa Miller (Elmire) and Brett Gelman (Tartuffe)
(Photo Credit: T. Charles Erickson)

The Huntington’s Tartuffe is one not to be missed. While you will be tempted to make the comparisons with what is happening on stage with all of the madness going on the in world, just remember it is still okay to laugh. And, if this play does not have you laughing you have truly lost all sense of humor. It sparkles! I enjoyed every second of Tartuffe, and I am sure you will too. Don’t miss it.

Tartuffe
The Huntington Theatre
Through December 10
264 Huntington Ave., Boston
617.266.7900
huntingtontheatre.org


 

 

Youtube Boxing

Studying The Art Of Boxing

With
YouTube

By Bobby Franklin

Boxing was once a great art. Unfortunately, it is now a lost art. The practitioners of this once noble form, men such as Johnson, Robinson, Dempsey, Louis, Leonard (Benny and Sugar Ray), Moore, Tunney, and so many others, were the Michelangelos and DaVincis of their craft. And while the likes of the great Florentines will never be seen again, so it is with the Old Masters of Boxing.

Boxing was once a great art. Unfortunately, it is now a lost art.

Leonardo has been dead for hundreds of years, but we can still gaze upon his work in museums around the world. The sculpture, painting, and architecture of Michelangelo is still very much with us. To gaze upon the David in Florence or the Sistine Chapel in the Vatican is a moving experience. These great works and so many others still speak to us and leave us in awe, so much so that it is almost impossible to think of the men who created them as being dead. They live on through their work and the influence it continues to have on us.

While I may be bordering on hyperbole to compare boxing with such great masters in the classical arts, when it comes to the world of sports I can think of no other that encapsulates the art spirit as much as boxing. So, how are we able to experience and appreciate what is now a lost art? You certainly cannot hang the Louis/Conn fight on a wall in a museum. We can read about these great practitioners and learn what interesting lives they led, but in order to truly experience what they accomplished we have to see it.

The art form boxing is closest to is dance, something that is beautiful because of its motion. You can look at a photograph of Nureyev gliding through the air in much the same way you can see one of Ray Robinson executing a perfectly timed left hook, but that only gives a view of a split second in time of their performances. To truly appreciate what these great talents did you have to see them in action. Thanks to Thomas Edison and his invention of moving pictures many of these great works have been preserved on film. However, it was not until recently that we were able to gain access to so much of this material. Yes, thousands of hours of footage were recorded but it was very rare that we ever got to see any of it. That is until the advent of YouTube.

Robinson vs Fullmer

YouTube is the Smithsonian of boxing. For anyone interested in looking back at the years when boxing was a true art form, YouTube is the Holy Grail. It is beyond belief what can be seen there. Not only is there film of great masters dating back to the 19th Century, but much of it has been restored and even corrected for problems with the speed at which it was originally shown making these pieces even better then when they were originally shown.

Where is all this footage coming from? I have no idea, but there are a lot of people out there who are digging it up and sharing it with the rest of us. They are the caretakers and archeologists of this history, and their work is invaluable. Because of them we are now able to finally view the great Sam Langford in action. I can watch Jake LaMotta training at the original Bobby Gleason”s Gym. Do a search for “D’Amato, Dundee, and Ali training” and you will be a fly on the wall listening in while the two great trainers exchange comments while watching Ali spar. You can see Gene Tunney in a playful sparring match with James J. Corbett. But most of all you can go back and watch some of the great fights of all time, some you may have only read about. You can watch them as often and whenever you want to, and quite often you may find they are a bit different from what you have read about them. I found this to be the case when I watched the first Joe Louis v Billy Conn bout.

Now that we have this great museum of boxing masters available for us to watch in our homes how do we best appreciate them? As with all great art, you can enjoy it  just by watching them. But, to really delve into the art it is best to learn more about what you are watching. There are many ways to learn what I call “Boxing Theory”, understanding what is happening on a deeper level when watching these artists. Looking at the Mona Lisa is a moving experience, but as you learn more about the subtleties and different interpretations of it you gain so much more. Great art truly appreciated often leaves us asking more questions the more we view it. This is true of boxing.

Seeing how there are no courses on “Boxing Art Appreciation” it is up to us to take the autodidactic route. Finding books that work as guides that lead us to uncover more and more of these treasures is a good place to start. Good books on boxing will also cue you in on what to look for when watching a classic fight. It will also give you historical context which is very important. As with any art, it is important to view it with a proper perspective of when it was created. Seeing Jack Dempsey in the ring with Jess Willard is much more interesting when you know what led up to him being there.

Paul Beston’s The Boxing Kings: When American Heavyweights Ruled The Ring is an excellent overview of a great period in boxing history. As you read each chapter you can then go to YouTube to watch footage of the men Mr. Beston has written about. Reading and watching in tandem makes it a truly wonderful experience.

To delve more deeply into the techniques of the old masters I would recommend Mike Silver’s The Arc of Boxing: The Rise and Decline of the Sweet Science. Reading this work along with viewing the fights all help you to better understand that is happening in the ring.

There are also many autobiographies and instruction books that were written by the fighters from the great era of boxing. For instance, I read Tommy Farr’s autobiography in which he gives a beautiful account of his fight with Joe Louis. After reading it the fight took on a whole new meaning as I watched it.

With great books such as those written by Mike Silver and Paul Beston as your guide you can embark on a wonderful adventure studying the Art of Boxing. Bring a critical eye when watching these films. Look for the subtleties. As with any great art, look beneath the surface, you will find there is so much there. I must warn you though, once you start it will become an addiction.

Doug Jones, Boxer Who Gave a Young Cassius Clay His Toughest fight, Dies at 80

By

Mike Silver

Doug Jones

Word has reached us that Doug Jones, the former light heavyweight and heavyweight contender of the early 1960s, passed away recently at the age of 80. Prior to Muhammad Ali’s three and a half year exile that began in 1967 Doug Jones gave the fighter then known as Cassius Clay his toughest fight. On March 13, 1963, before a sold out Madison Square Garden crowd of 18,732 fans, Clay struggled to win a close but controversial 10 round decision over his persistent foe.

Opinion was split as to who deserved to win. Many fans in the Garden and those watching the bout at 40 closed circuit locations thought Jones had done enough to edge Clay who chalked up his 18th straight victory. Doug’s record fell to 21-3-1. (Eleven months and two fights later Cassius would upset Sonny Liston to win the heavyweight title).

Interviewed 20 years later the defeat still rankled Jones. “Clay ran like a thief”, he said. “I carried the fight to him. Suppose I went the other way, what kind of fight would it have been? Clay didn’t hit me with any solid punches. There wasn’t any real power in his punches.”

Few boxers at his weight have engaged in so many tough fights against top competition in so short a time as Doug Jones. He was a talented boxer with a powerful right hand but what separated him from the crowd was his incredible toughness and heart. Doug had an extensive and successful amateur career during military service in the Air Force. (He was alternate light heavy for the 1956 U.S. Olympic team).

Jones Lands A Left Hook On Cassius Clay

Doug turned pro in 1958 with a four round decision over Jimmy McNair. He was rushed much too quickly yet managed to survive and attain contender status in spite of Madison Square Garden matchmaker Teddy Brenner’s tendency to destroy up and coming talent through horrible matchmaking. Doug only had 10 pro fights when he fought his first main event against tough former New York Golden Gloves champ Juan Pomare. After two more victories he took on hard punching Philadelphia prospect Von Clay in back to back10 rounders. His next outing was a nationally televised bout against former middleweight champion Bobo Olsen. Doug ended matters with a left right combination in the 6th round. He followed up with knockouts of Floyd McCoy and Pete Rademacher before taking on Von Clay for the third and final time winning via a 10th round TKO.

Up next was top heavyweight contender Eddie Machen. Doug lost the decision and five months later faced Harold Johnson for the undisputed light heavyweight title. Doug never stopped trying but with only 20 pro bouts under his belt he was just too inexperienced to take the measure of the great boxer and lost a unanimous 15 round decision. On October 20, 1962 Doug was matched with a 9 bout pro named Bob Foster. He stopped the future light heavyweight champion in the 8th round. (Previously Doug had defeated Bob twice in the amateurs while both were in the Air Force).

Although he rarely weighed more than 190 pounds the rest of Doug’s career was spent fighting heavyweights. A dramatic 7th round KO of top ranked Zora Folley (a few months earlier he dropped a decision to Folley) moved Jones into the ranks of heavyweight contenders and led to his match with young Cassius. Doug’s manager Alex Koskowitz and his trainer Rollie Hackmer decided the best strategy was for Doug to slip past Clay’s jab while constantly pressuring him, upset his rhythm, and land the right.

Jones at 188 pounds and 6 feet tall was 14 pounds lighter and three inches shorter but was significantly faster than Clay’s previous opponents. In the first round Clay was sent back on his heels by Jones’s right cross. He was tagged solidly again in the 4th and 7th rounds. Clay responded with swift combinations and it was anybody’s fight going into the ninth round. Clay turned it on in the final round landing frequently with combinations to seal his victory.

After splitting two fights with Billy Daniels, Doug’s tenure as a heavyweight contender ended with an 11th round TKO loss to George Chuvalo on October 2nd 1964. During the fight Chuvalo centered his attack on Doug’s body and many punches strayed into foul territory. As a result of the punishment Doug suffered a hernia and was out of action for close to a year. His last chance for a title ended with a 15 round loss to WBA heavyweight champion Ernie Terrell on June 28, 1966. By the time up and coming Joe Frazier knocked him out in the 6th round on February 21, 1967 Doug was pretty much used up and punched out. If he needed any more convincing to retire it was provided six months later by young Boone Kirkman who TKO’d him in six. The Harlemite ended his career with a 30-10-1 (20 KOs) record. He appeared in 11 nationally televised bouts.

Doug was an unlucky fighter. He came along at the wrong time when Harold Johnson was light heavy champ. If not for that Doug was a good bet to have won that title but he chose to go for the big money and take on heavyweights. Never an easy opponent at any time during his nine year pro career, he would be a terror among the light heavyweights of today. They did not come any tougher than Doug Jones.

Mike Silver is the author of The Arc of Boxing: The Rise and Decline of the Sweet Science (McFarland Publishers) and Stars in the Ring: Jewish Champions in the Golden Age of Boxing, A Photographic History (Lyons Press).


 Seaglass Performing Arts Presents 2017 Holiday Concert: A Joyous Celtic Celebration

Seaglass Performing Arts, under the direction of Jean Strazdes, is pleased to announce its 2017 Holiday Concert: A Joyous Celtic Celebration.

The Chorale had the honor of participating in an exciting Choral Festival in Dublin, Ireland this summer. Choruses from around the United States joined together in song and raised money for the Hospice of Ireland. In “A Joyous Celtic Celebration,” the Chorale will continue the musical flavor of Ireland. The chorus will be joined by dancers from the Stilton School of Irish Dance in Gorham and the concert will include a sing-a-long of familiar holiday songs.

The concert will be part of Kennebunkport’s Prelude Week on December 2nd with a second performance at Holy Family Parish Church in Sanford the afternoon of December 3rd. Saturday, December 2, 2017 South Congregational Church Kennebunkport 7:00 pm Sunday, December 3, 2017 Holy Family Parish 66 North Avenue Sanford 3:00 pm.

Tickets are available through seaglass [at] gwi [dot] net or via phone at 207.985.8747; and at Morse Hardware on Post Road in Wells. Tickets are also available at the door. Prices: $15/adult; $12/senior and student In support of the local area food banks, Seaglass is requesting your kind donation of non-perishable food items. Thank you for your generosity during this holiday season.
seaglassperformingarts.org

 

Billy Conn At 100: How Would He Have Done Against Ali?

By Bobby Franklin
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This past October 8th marked the 100th anniversary of the birth of Billy Conn. The Pittsburgh Kid held the Light Heavyweight Championship but is best known for his challenge against Joe Louis for the Heavyweight Crown. In that fight Conn gave Joe all he could handle for twelve rounds before Louis caught up with him in the 13th round for the knock out. I consider that bout to be one of the greatest of all-time as both fighters put on a brilliant display of what the Art of Boxing is all about. Conn was magnificent on that June night in 1941. He was fast and sharp. He mixed his punches up and feinted beautifully. He also showed he could withstand the power of the great Joe Louis. Louis was also remarkable. In a fight where he easily could have become frustrated at not being able to catch up with his elusive opponent Louis remained cool and launched a sustained attack on Conn’s body. This strategy paid off as he finally was able to slow Billy down enough to be able to take him out in the 13th round.

Conn was outweighed by over thirty pounds in the fight. Joe Louis had every advantage over him; Height, reach, weight, power, and just being Joe Louis. Max Baer once said of the Brown Bomber, “Fear is looking across the ring at Joe Louis and knowing he wants to go home early.” Conn was one of the very few men to step into the ring with Louis to not be gripped by that fear. Billy was the consummate professional, he was in there to win and had no doubt he could do the job.

Billy Conn was born in Pittsburgh, PA in October 8, 1917. When he was a kid his father took Billy to work with him one day at the Westinghouse factory. Billy took one look around and decided working 9:00 to 5:00 everyday was not for him. He decided early on he would much prefer to make his living in the ring. He made his professional debut in 1934 just shy of his 17th birthday. Hs first year in the ring was not overly impressive as he had eight wins and 8 losses. Even though it didn’t look like an auspicious beginning, Billy was learning his trade. In the second half of 1935 Conn hit his stride. He went 28 and 0 over the the next two years and was gaining recognition. He went on to win the Light Heavyweight title in 1939 by defeating Melio Bettina. Billy defended the title in a rematch with Bettina and then twice against Gus Lesnevich before relinquishing the belt in pursuit of a bigger prize, the Heavyweight Championship of the World.

Conn vs Louis I

Conn began campaigning as a heavyweight taking on the leading contenders while working his way to that title shot. It is interesting to note that while Conn rarely weighed more than 180 pounds, and was usually closer to 170, he never lost a fight against a heavyweight. In fact, though not preciously known as a big puncher, Conn knocked out more than half the heavyweights he faced. He did not do this by bulking up. What happened is when he got in against the slower moving big guys he was able to set himself more in order to throw harder punches.

Billy Conn was a truly great fighter. Watching him in action is a master class in the Art of Boxing. There have been very few fighters who were as consistently good as Conn. When you take his outstanding skills and combine that with his boundless self-confidence, superb conditioning, and tremendous heart you have all the makings of one of the greatest fighters to ever step into a boxing ring.

Conn had just the style to give Ali all kinds of problems.

I have given some thought to how The Pittsburgh Kid would have done against Muhammad Ali. It is a dream fight that is never brought up when old school fight people argue about what might have happened if two greats from the past had been matched up, but it should be. I believe Billy Conn had just the style to give Ali all kinds of problems.

What is often overlooked when analyzing Ali is the trouble he had with smaller and faster opponents. Going back to his fights with Doug Jones and Billy Daniels you could see how when his speed was not dominant he had problems. Even against Henry Cooper it was shown how he could be tagged by a smaller and faster man. Ali did his best against the big and slow moving heavyweights, much as Conn did.

Cooper vs Clay I

In Billy Conn Ali would be facing a man that not only could match him in hand and foot speed, I would argue Conn was faster in both departments, but also a man who would not be in the least intimidated by him. Conn was also a much better scientific fighter than Ali as Ali depended more on his speed and reflexes when young and his amazing toughness when older. Conn had a full palette of boxing moves he could tap into.

In Ali’s fight against Jimmy Young he was frustrated by Young’s cagey moves, and Jimmy Young was no Billy Conn. In three fights against Ken Norton, Ali could never improve on his performance, never being able to solve the one dimensional style of Norton.

In Conn’s fight against Louis the deciding factor was Joe’s body punching which slowed Billy down and made hm vulnerable. Ali never threw body punches so Billy would have never tired in a fight against him. Conn would have set a torrid pace against Muhammad darting in and out and while throwing a broad array of punches. Ali would for the first time be facing an opponent who was faster than he was. He would also be facing a smaller man who had incredible physical strength. Watch Conn in the clinches with the much bigger Joe Louis and you can see how he was able to hold his own with a much bigger man.

The more I think about this match up the more surprised I am that it is never discussed. It has all the makings for a great fight and a great argument. Sure, Ali had blinding speed when facing big men like Liston and Foreman, but what would happen if he was in with a talented boxer who was faster than he was? Billy Conn would have provided the answer.

https://youtu.be/2zOuvmZXiHg

Celebrate With An Italian Christmas Revels At Sanders Theater

 

By Bobby Franklin

I recently had the chance to take in a preview of the The Christmas Revels: A Venetian Celebration of the Winter Solstice. It was a very enjoyable evening. The Revels have been a tradition for five decades and this year’s version takes us to Renaissance Venice. The preview attended was just marvelous and only small taste of what all be presented on the stage at Sanders Theater in Cambridge. Music, dancing, and audience participation make for a great evening for celebration to welcome Christmas. It is an event where the Italian in all of us comes out.

WHO LET THE DOGE OUT?
2017 Christmas Revels Synopsis: The Doge of Venice has had it. It is time for the solstice and the Feast of the Seven Fishes and everyone wants his opinion – merchants, lawyers, politicians, artists, even the fishwives want him to rule on who makes the best spaghetti Bolognese. So he is going to take a little unauthorized vacation and meet some of his more lowly subjects. The wild adventures ahead involve reckless actors, jailbreaks, itinerant musicians, English Morris men and maybe even the Spanish Armada!  A beloved holiday tradition since 1971, The Christmas Revels features luscious music, tricky sets and gorgeous costumes, superb musical guests, a tuneful, dancing chorus, some familiar Revels touchstones, and street kids who sing like angels.

Our 100-member ensemble includes musician and song leader David Coffin, The Revels Chorus of adults and children, a brilliant group of vocalists and musicians from the Early Music community (Sophie Michaux, Gideon Crevoshay, Lysander Jaffe, Daniel Meyers, Simon Martyn-Ellis, Nathaniel Cox, and Fabio Pirozzolo), The Serenissima Dancers, our acting troupe, Commedia Buffo (old friends Noni Lewis, Billy Meleady, Mark Jaster and Sabrina Selma Mandell), and Richard Snee as the Doge. The Cambridge Symphonic Brass Ensemble and The Pinewoods Morris Men also join us onstage at Sanders this year.  Besides the carols and rounds we’ll ask you to sing, performance highlights include the Bal do Sabre, an Italian Sword Dance, plus familiar Revels touchstones like the Abbots Bromley Horn Dance, Susan Cooper’s classic poem, The Shortest Day, and our signature piece, Lord of the Dance, which will literally have you dancing in the aisles!

The Christmas Revels design team includes Jeremy Barnett, set design; Heidi A. Hermiller, costume design; Jeff Adelberg, lighting design; William Winn, sound design and Kelli Edwards, choreographer.

For more information and to buy tickets go to www.revels.org. Phone 617-496-2222 (Tue-Sun 12-6pm) or IN-PERSON at the Harvard Box Office at Farkus Hall, 10 Holyoke Street, near Harvard Square (Tue-Sun 12-6pm).

The First Louis Walcott Fight

70 Years Ago
Louis Won A Controversial Decision

By Bobby Franklin

December 5th marked the 70th anniversary of the first meeting between Champion Joe Louis and challenger Jersey Joe Walcott which took place at Madison Square Garden in 1947.

Louis had been a very active champion and this was to be his 24th defense of the title. Up until 1942 Joe defended the title often and always successfully. In 1941 alone he had met eight challengers including his historic match against Billy Conn. Things would change at the beginning of 1942 as the country was now focused on World War II. After defeating Abe Simon in March of 1942 Joe would not defend the championship again until his rematch with Billy Conn in June, 1946.

Louis stepped up and supported his country during the war by enlisting in the Army. During this time he fought a number of exhibition matches at Army bases around the world, but for such an active fighter the four year layoff took its toll. The Joe Louis who returned to the ring after the war was older and slower than the devastating fighting machine who had dominated the division throughout the 1930s and into the 40s. While Joe’s physical abilities may have faded a bit, he was still a very great fighter.

The long awaited rematch between Louis and Conn turned out to be a disappointment as it didn’t come close to having the excitement of their first go. After the Conn fight Louis dispatched Tami Mauriello in the first round of their fight. At this point the heavyweight division was looking quite weak with no truly outstanding challengers.

Promoter Mike Jacobs decided to go with a former sparring partner of Joe’s for his next title defense. Jersey Joe Walcott was a very slick boxer with a solid punch who never seemed to get a break. Walcott had been a pro since 1930 and was now having a fairly successful run of it. He had only lost 3 of his last 21 bouts which took place since 1944. He avenged all three of those losses. Joe had also missed a few years during the war not fighting since being stopped by Abe Simon in 1940. Walcott was back and giving it one more try in an attempt to get a title shot.

It should also be noted that early in his career Walcott had been trained for a brief time by Jack Blackburn. Blackburn ended up taking on Joe Louis as a pupil so Walcott and he parted ways.

Jersey Joe wasn’t given much of a chance of defeating Louis who entered the ring a ten to one favorite. The challenger made the oddsmakers look a bit silly when he decked the champion in the first round. The two fighters were mixing it up with Louis having Walcott against the ropes. Suddenly, Walcott landed a short right hand that was a solid punch but also caught the Brown Bomber off balance. The Champ went down for a two count.

In the fourth round Walcott would again deck Louis with another right hand. This time Louis was down for a count of seven and hurt. Louis got up and fought his way out of trouble avoiding numerous rights thrown by the challenger.

The rest of the fight was a cat and mouse game with Walcott using his brilliant boxing skills, his feints and shuffle, to keep Louis off balance. Louis’s left eye was swelling while Walcott had no marks on his face. Louis, while determined and steadfast, just could not land a solid combination on Walcott. Jersey Joe, who had started the fight quite aggressively, seemed to be content to keep at a distance as much as he could and rely on his speed tasty out of trouble. Perhaps he was thinking back to when Billy Conn fought Louis the first time.

Before the start of the 15th and final round Walcott’s cornermen told him he had the fight and he should play it safe. He followed their instructions and spent the final round moving and circling Louis intent on not being knocked out.

When the decision was announced two of the judges gave the fight to the champion while the referee scored it for Walcott. The crowd also thought the challenger had done enough to win.

It has been written that even Joe Louis believed he lost the fight. There are two reasons for this. One, Joe tried to leave the ring before the verdict was announced. Second, Louis went over to Walcott and told him he was sorry.

In an interview years later with Curt Gowdy Louis made it clear that while he was not happy with his performance he truly believed he did enough to win. He said he left the ring early because he was disgusted with himself and felt he should have done better. And as far as why he told Walcott he was sorry, Joe responded “I said that to everyone I beat.” Louis felt that in order for Walcott to win the title he would have had to fight more aggressively and not run so much. Apparently, the officials agreed with him. The press, however, did not. 21 out of 32 boxing writers that were polled said they saw Walcott as the winner.

In reality, this was a tough fight to judge. While Walcott fought beautifully, he also seemed to be playing it safety first. It is difficult, especially in that era, for judges take a title away from a champion when the challenger hasn’t won it decisively. It should also be remembered that the scoring of the fight was on the rounds system, so the two rounds where Walcott scored knockdowns did not count anymore than the other rounds he won. Even if it had been scored on points Louis would have won.

The two would meet again a little over six months later. Walcott would once again floor the champion, but Joe Louis would show the old fire in the 11th round when he knocked out Walcott with a blistering combination. Louis would announce his retirement after the fight, but unfortunately, he would’ve to make a comeback because of financial problems.

Jersey Joe would go on to fight for the title three more times finally winning it in the third try against Ezzard Charles. He was 37 years old at the time.

While the first Louis/Walcott may not have been the greatest Heavyweight Championship bout of all time, it was certainly an interesting one and very much worth watching.


 

She Loves Me Is A Romantic Delight In Stoneham

Reviewed by Bobby Franklin

If you are feeling a bit overwhelmed by holiday shopping I would suggest you take a couple of hours away from the madness and stop by to see the Greater Boston Stage Company’s production of She Loves Me. This very warm musical, which had its first run in 1963, will be familiar to many of you who have seen the movie The Shop Around The Corner. The story about a romance that began through letters and involves mistaken identity is funny, touching, and warm. It is also quite enjoyable.

Jennifer Ellis

Of course, with Jennifer Ellis in one of the lead roles you could never be disappointed. Ms Ellis is a positively outstanding talent with a superb singing voice and amazing acting ability. I would pay just to see her read the phone book. Yes, she is that good.

Ellis, as Amalia Balash,  an Sam Simark, who takes on the role of Georg Nowack, have an onstage chemistry that is magical. Having such a wonderful score to showcase their voices doesn’t hurt.

Sam Simahk

The play is set in Hungary as Christmas approaches and revolves around the romances both Amalia and Georg are having via mail (not email, but the ones you have to put a stamp on and deposit in a mailbox, remember those?), with people they have not yet met. It turns out the two have been writing to one another without realizing it, which becomes more complicated when Amalia gets a job at Maraczak’s, a perfumery, where Georg is already employed. The two do not hit it off well. The confusion draws in the other employees of the store as well as Mr. Maraczak (Tom Gleadow) who is also dealing with a case of mistaken identity.

Jared Troilo

Local favorite Jared Trolio plays the obnoxious Steven Kodaly who is pursuing fellow employee Ilona Ritter played by Aimee Doherty. Trolio is just wonderful in the number Ilona, which has a bit of a Mambo beat. Ms Doherty will have you smiling with A Trip To The Library.

A Romantic Atmosphere with Nick Sulfaro as the maitre d’ of a local restaurant is one of many stand out numbers that include Tonight At Eight (Georg), Vanilla Ice Cream (Amalia), and Where’s My Shoe (Amalia and Georg). Perspective sung by employee Ladislav Sipos (Robert Saoud) is filled with advice on how to keep your job. The delivery boy and aspiring clerk Arpad (Brendan Callahan) appeals for a promotion in Try Me. It would be very hard to refuse him after hearing this musical resume.

The story is not a complicated one, but it is so enjoyable to watch. The musical numbers are just wonderful and with Musical Director Matthew Stern at the helm the orchestration is tight. Choreography is by director Ilyse Robbins and is smooth and light.

While the entire cast and production are wonderful, Ms Ellis and Mr. Simahk are positively great. This is a play worth seeing. It will leave you with a big smile on your face.

She Loves Me
Through December 23rd
The Greater Boston Stage Company
Stoneham, Ma
Greaterbostonstage.org

This Man of La Mancha Is Not Quite The Impossible Dream

Man of La Mancha at the New Rep

Reviewed by Bobby Franklin

The New Rep Theatre’s current production of The Man of La Mancha directed by Antonio Ocampo-Guzman looked promising as the cast took the stage. It appeared it would be earthy and salty, but unfortunately, it did not turn out that way. I found this version to be disjointed and confusing. At times I wasn’t sure if it was reminiscent of a production done in Berlin in the 1920s or a Harvard Square coffee house in the 1960s. The transitions were choppy and it did not convey the edginess that it meant too.

Having the musicians playing instruments while acting their parts on a set that resembled backstage at a theater was a nice touch but the music was at many times tinny. Lead actor Maurice Emmanuel Parent who was superb in the Speakeasy Production’s Scottsboro Boys doesn’t seem able to quite settle into his role. I don’t think it is as much him as it is the material he is working with.

This is a production had a lot of potential, but it could be possible the director got too caught up in trying to send a message about the current state of politics today instead of letting the work be more subtle and allowing the audience to read into it their own interpretation.

Man of La Mancha
Through December 31st
New Rep Theatre
Watertown, MA

Mala Opens At Huntington Theatre January 6th

POWERFUL PERSONAL DRAMA MALA WRITTEN AND PERFORMED BY MELINDA LOPEZ, DIRECTED BY DAVID DOWER BEGINS SATURDAY, JANUARY 6

The Huntington Theatre Company is pleased to present the ArtsEmerson production of Mala. This moving drama is written and performed by Huntington Playwright-in-Residence Melinda Lopez (Sonia Flew, Becoming Cuba) and directed by David Dower (Mala and Mr. Joy, Breath & Imagination at ArtsEmerson). Performances run from January 6 through January 28, 2018 at the South End / Calderwood Pavilion.

Melinda Lopez
Photo Credit: Paul Marotta

Set during the epic winter of 2015, Mala is inspired by text messages frantically typed on an iPhone by Lopez, while she cared for her increasingly frail and consistently fierce mother. These short missives ultimately create a moving and generous portrait of the way taking care of family tests, deepens, and changes our bonds to the ones we love. Lopez, a regular on Boston stages, also performs the play.

Mala won the 2016 Elliot Norton Award for Best New Script, and it was named one of the best plays of 2016 by The Boston Globe, WBUR’s ARTery, and DigBoston. This return engagement of Mala, back by popular demand, is funny, brutally honest, and ultimately cathartic. Mala puts a sharp focus on what it means to put our loved ones first, right to the very end, and what happens when we strive to be good but don’t always succeed.

“When I saw the sold-out performances of Mala at ArtsEmerson last year, I knew we had to bring this homegrown hit to the Huntington,” says Artistic Director Peter DuBois. “Melinda Lopez has a frank and funny approach to writing about life and family that is a gift to audiences. In Mala, she’s captured something so honest about what it is to be a daughter. This is a show to share with someone you love.”

“I am thrilled to bring Mala back to Boston,” says Melinda Lopez. “The Huntington has provided me the time and space to continue to create new work as their playwright-in-residence, and I am grateful to them for remounting the original production, as this play is extremely close to my heart.”
“It was a true joy collaborating with Melinda on the premiere of her play Mala,” director David Dower says. “The humor, intelligence, and courage that Melinda brought to her writing immediately resonated and provided a great foundation to tell her important story, universal to so many.”

huntingtontheatre.org

A Powerful Work About A Principled American Standing Up To Hatred And His Government

“We Hold These Truths”

Written by Jeanne Sakata

Directed by Benny Sato Ambush

Through December 31

Lyric Stage, Boston

Reviewed by Bobby Franklin

When the lights first illuminate the stage for the opening act of We Hold These Truths now playing at the Lyric Stage, Michael Hisamoto in the role of Gordon Hirabayashi is sitting in a chair facing the audience. There is a very long pause before he begins to speak. This creates an expectation that what we are about to hear from Mr. Hirabayashi is going to be very important. In fact, not only what develops on the stage is important, it is also deeply moving.

Michael Hisamoto with Kurogos
Photo By Mark S.Howard

The story based on the real life Hirabayashi is about an American citizen of Japanese ancestry who had the courage to stand up to his government during the onset of WWII when citizens were being rounded up and placed into internment camps while being denied the due process afforded them by the Constitution. That they were denied their rights solely because of their ancestry is a frightening tale. Most of these citizens, and it must be remembered that these people were American citizens, also lost their homes, furnishings, and businesses. Some had relatives who at the same time were in the military defending the nation, and yes, its Constitution.

Michael Hisamoto commands the stage for a little over 100 minutes portraying a man who is both charming and steadfastly determined. Playwright Jeanne Sakata has included much humor in her work which makes this tragic story bearable. Using this humor, Mr. Hisamoto, with his infectious smile, is able to break the tension when it begins to overwhelm while at the same time using his eyes to covey the steely determination of his character. Make no mistake, Gordon Hirabayashi, though good natured, is tough as nails. And, as he points out using a Japanese proverb his mother taught him, “The nail that sticks out is the one that gets hit.”

Mr. Hisamoto plays all the characters with the exception of those that are voiced from off stage. He is accompanied by three kurogos, characters from Japanese theatre whose faces  are fully covered and do not speak on their own. The kurogos move about while Hisamoto voices their lines. The use of lighting cast onto a minimally furnished stage along with some projections on the back wall and subtle mood music is all wonderfully effective. Director Benny Sato Ambush has done a masterful job.

As I watched We Hold These Truths I thought about the temptation to slip into feelings of self-righteousness as I felt a bond with Mr. Hirabayashi, but would I have felt the same way if I were there in 1942 after the attack on Pearl Harbor? I would like to think I would have been, but it is easier looking back at this dreadful period with the emotions of the time removed.

What I did conclude was how important it is for our Constitution to be upheld by judges who will not be ruled by emotion or the temptation to legislate from the bench. In the Hirabayashi case, which he fought all the way to the Supreme Court where the justices ruled unanimously against him even though this was certainly a clear case of his due process being denied. The fact that there was little public support for these Americans who were being deprived of their rights should never have played into the judge’s decision, but it certainly did.

Michael Hisamoto
Photo by Mark S.Howard

Michael Hisamoto’s stirring performance not only honors Mr. Hirabayashi, but is also a reminder that while we may look back and like to believe we would have stood up for this courageous man, we should test ourselves as to whether or not we would do the same today in different situations. In this age where so many look to the courts to create laws we have to ask ourselves if we are able to respect the process, and if we can support decisions we are not happy with but are what is dictated by the Constitution. If that process had been followed in 1942 we would not have seen so many of our fellow Americans treated in such a shameful way.

I urge you to see We Hold These Truths and watch it with your eyes wide open. It is an important work, and one that should cause you to reflect no matter where on the political spectrum you fall.

Seaglass Performing Arts Brings Joyful Music And Dance To Christmas Prelude Week

Seaglass Chorale
“A Joyous Celtic Celebration”
December 2, South Congregational Church, Kennebunkport
December 3, Holy Family Church, Sanford, Maine

Reviewed by Bobby Franklin

It was a lovely two days of Celtic music and dance in Kennebunkport and Sanford, Maine as the Seaglass Chorale welcomed the Christmas Season with a beautiful program of music and dance.

Led by Artistic Director Jean Strazdes, the group has shown they are able to continue raising the bar with the passing of each year. This past summer the chorale visited Ireland where they performed and it appears they brought some Celtic magic back with them.

The lovely voices were accompanied by Kim Karchenes on piano, Mary Carol Kennedy on flute, Dianne Smallidge and Stephanie Sanders on percussion, and Robert Daigle on bass.

The program which opened with “Riversong: A Celtic Celebration” was lively and touching and continued with a number of beautiful Celtic songs. These included “Gartan Mother’s Lullaby”, sung  a cappella, a tune that touches on fairies in Irish mythology, “Oikan Ayns Bethlehem” from the Isle of Man, and the lively and fun “The Little Beggarman” about Johnny Dhu who worked hard at not working at all.

The first part of the program also had the beautiful “In The Bleak Midwinter” with words by Christina Rossetti. This has always been one of my favorites and I was not disappointed by this performance.

Alex Pratt recited the Kenneth Patchen poem “The Snow Is Deep On The Ground”. Written during WW II it is a moving piece that reminds us to have hope at all times. Mr. Pratt’s rich voice made this recitation simply wonderful to hear.

Stillson School Step Dancers

After intermission, there was a special surprise. The Seaglass Chorale was joined by step dancers from the Stillson School of Irish Dance. The Stillson School is the only accredited Irish Dance school in the state of Maine. This was truly a treat and the young ladies who performed were simply outstanding. Under the direction of Carlene Moran Stillson these world class dancers who have won numerous competitions  thrilled the audience. Having them join with the chorale was a lovely touch.

The program closed out with the ancient Celtic carol “Stars of Glory”, followed by “Shule Aroon”,  Ola Gjeilo’s “The Ground”, and a “Celtic Silent Night”. All beautiful music but made that much lovelier by the voices of Seaglass. A friend described the evening as “Fine threads on a woven tapestry.” That is a perfect description.

Of course, what would a Seaglass Christmas concert be without a sing-a-long? Ms Strazdes finished the evening by turning to and directing the audience in a medley of Christmas Carols. It was the perfect finish to a wonderful evening.

If you have not yet attended a Seaglass Performing Arts concert I would strongly urge you to do so.

“A Joyous Celtic Celebration” certainly left all who experienced it with enough Christmas Spirit to last them until next year. Just wonderful!

Shakespeare In Love Opens At The Speakeasy January 12th

Jennifer Ellis and George Olesky Lead Cast For New England Premiere

From January 12 to February 10, 2018, SpeakEasy Stage Company will proudly present the New England premiere of the hit London comedy SHAKESPEARE IN LOVE.

Based on the Academy Award-winning film, SHAKESPEARE IN LOVE tells the story of young Will Shakespeare, who is suffering a severe case of writer’s block as the deadline fast approaches to deliver his new play, Romeo and Ethel, the Pirate’s Daughter. Enter Viola, a headstrong noblewoman and admirer of Will’s, who disguises herself as a boy so she can skirt the law and appear (as a girl) in his play. But when the playwright and his muse fall in love, the plot undergoes some surprising rewrites. Mistaken identities, courtly intrigue, and backstage bickering are all part of the fun in this raucous romantic comedy of errors that reminds us that all the world’s a stage and love is unrehearsed.

Norton & IRNE Award-winner Scott Edmiston will direct the SpeakEasy Stage production of SHAKESPEARE IN LOVE. Mr. Edmiston’s previous SpeakEasy credits include Casa Valentina (2016 Elliot Norton Award for Outstanding Director), The History Boys, The Light in the Piazza, and Five by Tenn.

George Olesky and Jennifer Ellis

Newton native George Olesky and Norton Award-winner Jennifer Ellis headline a truly all-star Boston cast for the production, which includes Remo Airaldi, Ken Baltin, Nancy E. Carroll, Jesse Hinson, Omar Robinson, Carolyn Saxon, Eddie Shields, and Lewis D. Wheeler. Also in the cast are Paul Alperin, Steve Auger, Cameron Beaty Gosselin, Jade Guerra, Jeff Marcus, Zaven Ovian, Edward Rubenacker, and Damon Singletary.

SHAKESPEAERE IN LOVE will run for five weeks, from January 12 through February 10, 2018, in the Virginia Wimberly Theatre in the Stanford Calderwood Pavilion at the Boston Center for the Arts, 527 Tremont Street in Boston’s South End.

617.933.8600 www.SpeakEasyStage.com .

Sondheim’s Roadshow Opens At The Lyric Stage January 12th

Spiro Veloudos Will Direct Sondheim’s Latest Work

On his continuing journey through the works of Stephen Sondheim, director Spiro Veloudos brings us Sondheim’s latest work, Road Show, the true boom-and-bust story of two of the most colorful and outrageous fortune-seekers in American history. From the Alaskan Gold Rush to the Florida real estate boom in the 1930s, entrepreneur Addison Mizner and his fast-talking brother Wilson were proof positive that the road to the American Dream is often a seductive, treacherous tightrope walk.

FEATURING: Neil A. Casey, Tony Castellanos, Jordan Clark, Shannon Lee Jones, Robin Long, David Makransky, Will McGarrahan, Sean McGuirk, Brandon Milardo, Vanessa J. Schukis, Patrick Varner.

617.585.5678 lyricstage.com

Unveiled

New Repertory Theatre and Greater Boston Stage Company present Unveiled, performed January 10-28, 2018 in the BlackBox Theater at the Mosesian Center for the Arts, 321 Arsenal Street, Watertown and February 7-16, 2018 at Greater Boston Stage Company, 395 Main Street, Stoneham.

“I write plays because it’s my way of inviting an audience into the homes of those who are often marginalized,” says playwright and performer Rohina Malik. “The simple act of telling a story can remind us of our shared humanity. That’s the power of theater. Art, in its many forms, has the power to solve world problems. That’s why I believe we should do everything we can to nurture and protect the arts.”

“At this moment, the voices of people like Rohina Malik and the women of Unveiled need to be heard more than ever. And they need to be heard from directly,” says Greater Boston Stage Company’s Artistic Director Weylin Symes. “There is so much discussion today about the Muslim experience both here in the US and around the world, but it is all too rare that we get to hear about this experience first-hand. These thoughtful, sincere, and human stories let us see these women as people – real people. New Rep felt like a natural fit as a co-presenter for this piece as they so clearly share our desire to share important stories like this with their audience. Anything that makes these stories more available to Boston area audiences is a good thing.”

“In our current cultural and political climate, a play like Rohina Malik’s Unveiled could not be more relevant,” says New Rep Artistic Director Jim Petosa. “What she shares with us is truly unique, allowing us to explore the lives of five Muslim women living in a post-9/11 world. When we began to think about a season in which we examine the resilience of the human spirit, Unveiled was a natural fit. Through humor, wit, and pathos, Rohina has crafted a resounding and moving work that we are pleased to be co- presenting with our partners at Greater Boston Stage Company. It is our hope that audiences will come away from this production uplifted and with a deeper understanding of these women’s journeys through today’s often tumultuous society.”

Racism. Hate crimes. Love. Islam. Culture. Language. Life. Five Muslim women in a post-9/11 world serve tea and uncover what lies beneath the veil in this critically acclaimed one-woman show.

Greater Boston Stage Company,781-279-2200, greaterbostonstage.org
New Rep Theatre,617-923-8487, newrep.org

Cerdan vs Robinson

The Title Of Greatest Pound For Pound
Fighter Would Have Been At Stake

On September 21,1948 Marcel Cerdan defeated Tony Zale and won the Middleweight Championship of the World. Cerdan had made his American debut just two years earlier with a hard fought win over the very tough Georgie Abrams. With the win over Abrams Cerdan proved he was no paper tiger, and he would cement his reputation as the best middleweight in the world with his decisive victory over Zale. He gave the Man of Steel a terrible beating, dropping him with a left to the jaw at the end of the 11th round. Zale had to be helped back to his corner where his seconds decided he had taken enough punishment and ended the fight.

Zale vs Cerdan

After the Zale fight Marcel returned to Europe where he had a couple of non title fights stopping Dick Turpin and Lucien Krawczyk. He returned to the States to make the first defense of the title against Jake LaMotta on June 6, 1949 at Briggs Stadium in Detroit, Michigan. LaMotta was the top rated middleweight contender and one very tough customer. Never the less, Cerdan was made a two to one betting favorite.

Only fragments of film footage from the fight exists, and these fragments do not include what happened early in the first round of the fight. It was widely reported that LaMotta threw Cerdan to the canvas. Marcel landed on his left shoulder causing an injury serious enough that he was not able to use his left hand for the rest of the fight. Remarkably, Cerdan continued to fight. Sportswriter Red Smith reported:

“In spite of his injury and in spite of a severe beating in the first round … Cerdan won the second round big and the third and fifth by lesser margins. A master at handling his opponent, turning him, tying him up, slipping or blocking his punches, and setting him up, Cerdan could do none of this one-handed. He couldn’t even stick his left out to ward off his foe … it is difficult to believe LaMotta would have a chance with a two-handed Cerdan.”

Cerdan vs LaMotta

Fighting Jake LaMotta with two hands would be enough of a problem for any fighter, just ask Sugar Ray Robinson, so standing up to him with one arm was truly remarkable. Unfortunately for Marcel, he just couldn’t keep it up. Cerdan hung in there until the end of the 9th round when his corner stopped the fight.

Because of the circumstances surrounding the end of the fight a rematch was quickly scheduled for September 28th of the same year. Ironically, the bout had to be postponed when LaMotta suffered a shoulder injury while training for the fight. The bout was rescheduled for December 2, 1949. In the meantime, Marcel returned home to Paris.

Robinson and Cerdan

According to legend, Marcel was booked to travel back to the States via ship, but when he got a call from his paramour, the singer Edith Piaf, asking him to make the trip by plane so he would arrive earlier and they could spend time together before he began serious training, he changed his plans. It has also been rumored that a fortune teller him told him not to fly. If so, Marcel ignored the advice from the seer and on Friday, October 28, 1949 boarded a Lockheed L 749 79 46 Constellation in Paris for the trip to New York City.

After leaving Paris the flight was scheduled to make a stop at Santa Maria, Azores. The flight crew reported into the tower there that they were approaching and traveling at an altitude of 3000 feet.They received their landing instructions and that was the last that was heard from them. The wreckage of the plane was later found on Redondo Mountain, there were no survivors.

Ray Robinson Attending Cerdan’s Funeral

Cerdan’s death was widely mourned and thousands attended his funeral which was held in Morocco where he was laid to rest. Marcel Cerdan was extremely popular on both sides of the Atlantic, and it seemed unbelievable that this larger than life man was no longer alive.

Boxing history was almost certainly changed by this tragedy. Most boxing experts agree Marcel would have regained the title in his rematch with LaMotta. While Jake was a great fighter, Cerdan was just that much better, and there seemed to be little doubt that a Marcel with two good fists would prove too much for the Bronx Bull.

Here’s where it gets interesting. If Cerdan had gone on to regain the crown it would have meant that Sugar Ray Robinson would have faced him and not LaMotta for the title in 1951. This would have been a truly great matchup between two all-time greats. At the time if his death Marcel had a record of 111 wins against only 4 losses. He was only stopped once and that was because of the shoulder injury in the LaMotta fight. If the fight had taken place at the same time as Ray’s bout against LaMotta, Robinson would have entered the ring with a record of 121 wins, 1 loss, and 2 draws. Cerdan had defeated 65 opponents via the knock out route while Ray had stopped 77 foes at that point in his career. In spite of these amazing knockout records I don’t see this bout ending in a stoppage. Both of these fighters had rock solid chins along with great defensive skills. Both fell solidly into the category of boxer/puncher. Cerdan had always campaigned as a middleweight while the majority of Ray’s fight at that time had been in the welterweight division where he also held the world title. For the previous few years Robinson had been successfully testing the middleweight waters where he suffered his only loss to Jake LaMotta. A defeat he would avenge.

Marcel Cerdan

I truly believe this is a difficult fight to pick. Cerdan would certainly have to rate as one of, if not the, toughest opponent Robinson would ever face. This had all the makings of a dream match and would have been a major attraction. I could see it breaking records for attendance and gate receipts. It would no doubt have been held in a ballpark.

So, who wins? Well, as with any truly great matchup it is impossible to say with any certainty. I will tell you that Marcel Cerdan had a better chance than LaMotta did of defending the title against Sugar Ray, and it would not have surprised me if he won. It must also be kept in mind how different boxing history may have been if Cerdan had defeated Ray and then gone on to defend the title for a number of years. If that had happened we very well may be calling Marcel Cerdan the pound for pound greatest fighter who ever lived instead of Sugar Ray Robinson. Unfortunately, fate intervened so we will never know.
https://youtu.be/OKfD77DfSoI

“Nobody Teaches You How To Do The Big Stuff”

Melinda Lopez In Mala
At The Huntington

Reviewed by Bobby Franklin

Melinda Lopez
Photo Credit: Paul Marotta

Watching the Huntington Theatre’s production of Mala, written and performed by Melinda Lopez, was a very emotionally stirring experience. The one actor play about Ms Lopez’s experiences dealing with the failing health and impending death of her 92 year old mother is an honest depiction of what many of us have, or will have to face with an aging parent. It is also a stark reminder of what awaits us as we age. It is not a pretty picture, and fortunately, this play does not romanticize dying. If this sounds pretty bleak it is, but the play is not.

Oh, it is tough stuff to have to think about, and as Ms Lopez points out so well throughout the play, we don’t pick up great wisdom from the dying. They are usually very angry and the caregivers are exhausted. The endless calls to 911, the verbal nastiness, the hard decisions, and feelings of guilt are all real and put in front of us. The play also has much humor in it. I wouldn’t call it gallows humor, but rather the laughter people break into at times when it seems all has gone wrong and helplessness has set in. You know, it is okay to laugh when bad things are happening. We are reminded of that while watching Mala.

Melinda Lopez is simply wonderful. Her work is wonderful. Her acting is wonderful.

The events in the play took place during the terrible Boston winter of 2015, the year of Snowmageddon. As her mother began to deteriorate physically and mentally Ms Lopez kept notes in an App on her iPhone. She did not do this with the thought of writing a play, but rather as a way to let off steam. When she later read the notes she was inspired to write this story. It is so good she did.

Mala is not Ms Lopez’s mother’s name, rather it is a Spanish word that means a person is bad. Not just bad but bad deep down in her soul. Her mother would shout that at her when she was upset. It is not uncommon for an ailing parent to lash out at a son or daughter when they are nearing the end. It is very unpleasant and hurtful, but understandable when you think about how helpless and hopeless we become at that stage in our existence. Never the less, it is awful to deal with.

Melinda Lopez
Photo Credit: Paul Marotta

Along the way Ms Lopez also touches on her father’s dying as well as sharing brief stories of other’s who have gone through similar experiences. As she moves about the stage relating her story I felt as if she was talking directly to me, and I am sure the other audience members felt the same way. Her honesty and straightforwardness come through clearly while never turning to self pity. The anger, the guilt, the second guessing are all brought out.

Near the end of the performance Ms Lopez talks about having her mother put under Hospice care. This touched me as it is a hard reality to face when you know the person you love is not going to get better. There is now a time frame. Of course, as Melinda Lopez points out, we have all started dying, but when you can begin to measure the time that is left it becomes very different.

In one very funny part of the play Ms Lopez talks about one of the times her nerves were frazzled from dealing with her mother. She started thinking about how she heard that Eskimos, or was it Inuits?, would set their elderly parents adrift on an iceberg to be rid of them. It is quite humorous as she tells it, but it also is a reminder of the terrible guilt a person can feel as the thought of wanting the suffering to end gets tied into the wish to see your parent die. Those thoughts are so painful.

I hope I haven’t painted too bleak a picture of this wonderful performance. You will not be sitting in the theater crying. In fact, you will spend quite a bit of time laughing. But, you will leave the theater thinking about what it means to get old and what lies ahead for many of us. It is something we should be as honest about as Melinda Lopez is.

It is so often I read about how courageously a person has faced illness and death, and we like to think of it happening that way. The reality is different. I know that as I was leaving the theater I was thinking of some of the words Ms Lopez spoke. She spoke of how dying does not make us wise. You don’t learn from the dying. They are angry, they can be mean. And most importantly “Nobody teaches you how to do the big stuff.”

Do not be afraid to see this play. Melinda Lopez is simply wonderful. Her work is wonderful. Her acting is wonderful. Her honesty and openness about this subject is welcomed and you will appreciate it. Mala touched me deeply. It stirred my emotions and brought back difficult memories, but I am so glad I got to experience this fine work. While it is true nobody teaches you the big stuff, it is nice to know we are not alone in going though such events. Thank you Melinda Lopez for sharing experiences.

Mala
Extended through February 4
The Huntington Theatre Company
At The Calderwood Pavillon
Boston’s South End
huntingtontheatre.org
617.266.0800

This Play’s The Thing To Bring You An Early Spring

Shakespeare In Love
At The SpeakEasy Stage Company

Reviewed by Bobby Franklin

We are in the midst of one of our cold and snowy Boston winters, but you don’t have to travel far to have your heart warmed and a smile brought to your face. The New England Premiere of Shakespeare In Love presented by the SpeakEasy Stage Company and playing at the Calderwood Pavillon in Boston’s South End is delightful.

George Olecky and Jennifer Ellis
Photo Credit:Nile Hawver/Nile Scott Shots.

The Marc Norman and Tom Stoppard screenplay from their Academy Award winning best picture has been adapted to the stage by Lee Hall who has kept much of the original script while adding additional dialog including Shakespeare lines. With a cast of eighteen actors plus a dog it is remarkable how smoothly this work flows. Everyone is in synch and the dialog and action never miss a beat. This had to be a challenge for director Scott Edmiston who was clearly up to the task.

The SpeakEasy design team has done a masterful job of transforming the Wimberly Theatre at the Calderwood into The Rose Theater from Shakespeare’s era. The actors move into the aisles at times and the lights are turned up periodically to truly make the audience feel they a part of the performance. It is a wonderful touch that adds to the fun that is enjoyed by those in attendance. We are groundlings all.

Of course, what would a play be without the players? And the SpeakEasy has assembled a very talented cast to take the stage. With so many who deserve recognition I hate having to leave some out but space doesn’t allow for a full rundown. Just know they were all terrific.

Eddie Shields and George Olecky
Photo Credit:Nile Hawver/Nile Scott Shots.

George Olesky plays the young Will Shakespeare who, at the beginning of the play, is suffering from a bad case of writer’s block,”Shall I compare thee to a …something…”. Kit Marlowe (Eddie Shields) helps him  get his mojo back and even coaches him in finding the words with which to woo Viola (Jennifer Ellis) who has been masquerading as a male in order to gain a part in the upcoming production of Romeo and Ethel, The Pirate’s Daughter. Fortunately, Kit is able to convince Will there is a better title for the work.

Many audience members will be familiar with the direction this all takes from having seen the movie. If not, it is fun to experience it for the first time. And, if you are, you will find this treatment of it to be fresh and  enjoyable.

Olesky and Shields, who I at first thought were going to be too corny, settle into wonderful exchanges of banter that display the wit you would expect from these two poets. Their back and forth captures their rivalry, respect, and friendship. By the time of Marlowe’s murder you can empathize with Shakespeare’s pain and guilt at the loss of his friend.

Nancy E. Carroll as Queen Elizabeth has the gift of delivering very funny lines without cracking a smile. However, there is a twinkle in her eye that belies her stern countenance.

Ken Baltin
Photo Credit: Nile Hawver/Nile Scott Shots.

Ken Baltin takes on the role of the beleaguered theatre owner Henslowe who is struggling to stay one step ahead of losing an ear for falling behind in his payments to the loan shark Fennyman played by the very funny Remo Airaldi. Baltin’s expressions as he looks pleadingly to the audience are priceless.

As readers of this column know by now I consider Jennifer Ellis a remarkably gifted performer. In Shakespeare In Love she did not disappoint me. I have seen Ms Ellis performing going back to Urinetown at the Lyric Stage in 2005 and more recently in She Loves Me at the Greater Boston Stage Company as well as The Bridges of Madison County at the SpeakEasy. In a city that is so filled with talent (you get to see much it in this current production) Jennifer Ellis stands out as one who is destined for great things. My only concern is that one day we may lose her to the bright lights of Broadway, so I would strongly urge you to get to the Calderwood Pavillon and see for yourself what I am talking about before she moves on.

Ms Ellis radiates in the role of Viola. Her voice and her presence fill the stage.

Ms Ellis radiates in the role of Viola. Her voice and her presence fill the stage. There is also something very unique about the way lighting touches her face. I don’t know how to properly describe it, but it is amazing to see. Jennifer Ellis also carries a subtlety into her performances that allows her to always appear at ease and very natural.

So, forget about the cold weather and head over to the SpeakEasy stage for this delightful production. Oh, I forgot to mention one very important cast member, Spot the dog. As Nancy E. Carroll’s Queen Elizabeth says when encouraging Will on writing his next play “Remember, we very much like dogs”. You’ll very much like Spot. And yes, “Out damn Spot’ does make it into the dialog.

Shakespeare In Love
Through February 10th
The SpeakEasy Stage
Calderwood Pavillon
Boston’s South End
www.speakeasystage.com
617.933.8600

Road Show At The Lyric Stage

Oh! Brothers!
Road Show
At The Lyric Stage

Reviewed by Bobby Franklin

Spiro Veloudos and Ilyse Robbins have teamed up to co-direct Stephen Sondheim’s newest musical Road Show, now playing at the Lyric Stage. The play, with book by John Weidman, is a fast paced 90 minutes of tightly woven theatre. It is the story of two rather sleazy brothers who, while they do hold a certain attraction, in the end make us feel glad we are leaving them behind as we leave the theater.

Neil A. Casey and Tony Castellanos
Photo Credit: Maggie Hall

Addison and Wilson Mizner were two real life characters who went in search of fame and fortune toward the end of the 19th and the beginning of the 20th Centuries. They had big ideas with Wilson being the more daring, and at first seemingly the more unscrupulous of the two. There is a certain appeal to the stories of risk takers and those who follow their dreams, but by the end of the play we have had just about enough of these two. The Mizners, while rich in ideas, and in Addison’s case, talent, were also con men who were more than willing to take advantage of any poor sucker whom they came across. It is Wilson Mizner who has been credited with the now famous line “There’s a sucker born every minute”.

Even though their actions will leave an unpleasant taste in your mouth, it is still a lively and interesting story. The score by Stephen Sondheim is pure Sondheim from start to finish. And, I have to say I enjoyed every number. With a three member orchestra to back them up the performers are never competing with the instruments. Each song is clear and easy on the ears.

Tony Castellanos as Wilson gives us a character who is a fast talking con man, and like all con men, also quite charming much of the time. You’ll  find yourself smiling at him while at the same time checking to be sure your wallet is still in your pocket. Neil A. Casey as Addison is the more subdued, thoughtful, and apparently kinder of the two.

Neil A. Casey and Patrick Varner
Photo Credit; Maggie Hall

When Addison begins a relationship with Hollis Bessemer (Patrick Varner), the son of a wealthy industrialist, who dreams of starting an artist’s colony in Florida, it seems  we are going to see a stark contrast between the two brothers. Bessamer has been cut off by his father but is able to make introductions that enable Addison to put together real estate deals. The two begin a romantic relationship and appear to have found true love. The song You’re The Best Thing That Has Ever Happened is a very touching and tender moment in the play. Patrick Varner brings a warmth and a vulnerability to the role of Hollis that  makes it that much more tragic when Addison goes back into business with Wilson and they begin fleecing investors. Whether Addison had been using Bessemer all along or whether it was really true love is a question that is left to the audience. While it is obvious Wilson always savored taking advantage of those “suckers” whether mining for gold in the Klondike, producing Broadway plays, or selling real estate in Florida, it is more ambiguous when it comes to Addison.

Cast of Road Show
Photo Credit: Maggie Hall

There is a fine supporting cast that includes Sean McGuirk as Papa Mizner and Vanessa J. Schukis as Mama Mizner as well as various prospecters, poker players, marks, and even an appearance by World Middleweight Champion Stanley Ketchel (David Makransky). Will McGarrahan, last seen at the Lyric in Souvenir, is always a welcome stage presence.

As I have written before, the team at the The Lyric Stage really knows how to put on these small scale musical productions. Mr. Veloudos and Ms Robbins work very well together. But that should not come as any surprise as both know their craft and have given audiences many great productions.

These past few years I have been getting quite an education in the work of Stephen Sondheim thanks to both the Lyric Stage and the Huntington Theatre Company. It is a delightful journey I have been fortunate to be able to join in on. I am looking forward to many more stops along the way. In the meantime, I can say with confidence you will enjoy Road Show. You may not find a place in your heart for the Mizner brothers, but you certainly will for this production.

Road Show
Through February 11th
The Lyric Stage
Copley Square, Boston
lyricstage.com
617-585-5678.

The Joe Louis Effect

How The Quiet Dignity Of The Great Champ
Influenced A High School Wrestler In 1982

By Bobby Franklin

Recently, I read the latest biography of Muhammad Ali. In it the author describes  former Heavyweight Champion Joe Louis as having been “docile”. This view of not only Joe but so many other black celebrities who were in the public eye before the 1960s has become all too commonplace. It has been said that Joe Louis played the “white man’s game”, that he went along to get along, that he remained silent in the face of injustice. The same has been said about Jackie Robinson and Louis Armstrong to name just a couple of others.

During the nervous breakdown our country was having during the 1960s it became cool to denigrate many who had suffered and struggled in the past. The mindset had become one of having to show your convictions by having a public temper tantrum. To acknowledge there had been people who were able to accomplish great things while not going out of their way to alienate others was considered being subservient. If you weren’t screaming at the top of your lungs you weren’t serious about change. And if you were black it meant you were being “docile”. Ali belittled Louis for this as did Miles Davis when talking about Louis Armstrong.

In the case of Joe Louis it worked in managing to erase all he had accomplished when it came to the cause of Civil Rights. Not only in what he did concerning policy where he had refused to box exhibitions before the troops unless the audiences were integrated or when he would become the first black man to play in the Professional Golf Association, but also in all he did to bring people together.

You see, Joe Louis set a tone. Joe’s actions outside of the ring mirrored what he did in the ring where he stood strong and forceful yet always dignified and respectful of his opponents. While Louis may not have talked a lot and never bragged, he certainly got the job done. This was true in and out of the ring. Jackie Robinson once said that baseball would have gone another ten years before being integrated if it had not been for Louis.

Louis did something else; He brought people together through leading by example. He showed that being strong did not mean being obnoxious. If you were going to emulate Joe Louis, and most young people wanted to, you would have to show respect to others and earn it yourself. You would act like a gentleman in the best sense of the term. My, how times have changed. The way celebrities, dare I say role models, behave influences people, especially young people. In the case of Joe Louis, he showed us how it should be done.

This all brings me to a conversation I recently had with a good friend of mine named Paul. He related a story  from his time as a wrestler in high school.

Paul was a huge boxing fan but seeing as his high school did not offer boxing he joined the wrestling team. He hadn’t been terribly successful and had yet to have his “glory moment” when in 1982 he was matched up with an opponent with comparable abilities. They were paired up to go at it in a junior varsity match which normally did not garner a lot of attention. However, in this case the match took place just before the varsity matches so the gym was packed. On top of this, Paul’s brothers were there and got the place going crazy in support of him. As the young grappler stepped into the circle he could hear the crowd shouting his name. It was nice to have the encouragement but also meant the pressure was on.

In Paul’s head he was thinking of the focus Roberto Duran had before his first fight with Ray Leonard. He wanted to carry that same type of determination into this match, and he did. Paul came out on fire and in the second period he pinned his opponent. When he heard the referee shout “pin” his first impulse was to stand up and pump his fist into the air. You can imagine his excitement and the rush he must have felt.

But, then something happened. In that instance an image flashed in his mind. No, it was not one of Roberto Duran gloating as he got the decision over Leonard. Instead, he suddenly saw Joe Louis in 1941 calmly walking away from the fallen Billy Conn. Joe was “cool as a cucumber” after having finally caught up with Conn who had been giving him an awful time of it. Joe hadn’t jumped around doing a victory dance. No, he had shown respect to his defeated opponent. It was this image the young Paul
wanted to emulate. He wanted to be seen as winning with honor and dignity, and what better role model for such behavior than Joe Louis. You have to remember, this was 1982 and by this time it had become the norm to practice self praise when winning. Paul would take another road. In his moment of competitive sport’s glory he would think back to footage he had seen of a great champion in victory. For Paul’s win that day in a high school gymnasium meant as much to him as Joe’s win against Conn at the Polo Grounds meant to Louis, and Paul got it right.

He could not have been blamed if he had pulled a Duran or an Ali and jumped all over the place in celebration of his big win. It would not have been shameful had he done that. It would have been entirely understandable, but showing deep character means keeping things in perspective. It means showing respect for those whom you compete against whether you have come out victorious or on the losing end. It means having class.

Joe Louis had died the year before Paul’s big moment came, but the legacy of this very great champion lived on the heart of that young high school wrestler. We’d all be better off if there were a few Joe Louis’ around today to help guide us in how we behave towards one another. We’d also be better off if more young people acted in the manner 16 year old Paul did back in 1982. On that day he showed not only that he could win a wrestling match, but that he could also be a champion.

Neeno! Neeno!

Neeno! Neeno!
Fifty Years Ago Nino Benvenuti
Arrived In America

By Bobby Franklin

On April 17, 1967 Nino Benvenuti stepped into the ring at Madison Square Garden to challenge Emile Griffith for the Middleweight Championship of the World. This would only be the third time Nino had fought outside of his native Italy and would be his first appearance in the United States. He brought a record of 71 wins in 72 fights with him. Twenty-nine of his victories were via knockout.

Nino Benvenuti

While it was not unusual for European fighters to arrive in the States with outstanding records on paper, many of the opponents they had would be viewed as being of questionable talent and lacking in motivation. With Benvenuti this wasn’t the case.

In the 1960 Olympics Nino had won a Gold Medal in the welterweight division. He was voted outstanding boxer in the games beating out a young American boxer by the name of Cassius Clay for that honor. Of course, the Olympic games that year were held in Rome, but by all accounts Nino was deserving of the recognition.

It has been reported he had an amateur record of 120 wins and no losses. It is hard to verify that figure, but anything close is still quite impressive. He won numerous amateur titles.

Nino would turn pro in 1961 and begin amassing a very impressive record that led to his winning the Italian Middleweight Title in 1963. In 1965 he won the World Light Middleweight Title by defeating Sandro Mazzinghi. He would beat Mazzinghi in a rematch. In Sandro’s career he suffered only three losses in sixty-seven bouts, two of those being to Benvenuti.

Nino would stay busy in the ring defending the title and fighting non-title bouts. He defeated American Don Fullmer and in his first fight outside Italy he defended the title against Jupp Elze in Germany. His next stop would be a title defense in South Korea against Kim Ki Soo. Fighting Soo in the Korean’s hometown Nino tasted defeat for the first time losing the title. Benvenuti claimed he was robbed and that is very likely. However, instead of looking for a rematch and a chance to regain the title he decided to campaign for a shot at the World Middleweight Title.

Emile Griffith was the champion, and promoters were looking for someone exciting to match against him. Things were a bit slow in the division at that moment and Nino had wins over top contenders Mazzinghi and Fullmer. Nino also had something else going for him; personality. He was handsome and could light up a room with his smile. Combine that with his not so bad boxing abilities and you had the perfect combination for a very attractive bout. Tex Maule writing in Sports Illustrated would call Benvenuti “The best Italian import since olive oil.”

Benvenuti Decks Griffith

As Nino entered the ring for the fight he looked fit and relaxed. At 5’10” he was tall for a middleweight and he had broad shoulders. One thing that was in question was how he would adapt to fighting under American boxing rules which allowed for a lot more infighting and roughhousing than he was used to. Remember, all but one of his previous fights took place in Europe where the rules were similar to those in Olympic boxing and a fighter could be disqualified for crouching too low and going to the body too aggressively. Nino dispelled any notion that he would have a problem with the change as he came out very strong in the first round and showed that he could be every bit as rough as his his American counterparts. He fought hard in the clinches, so much so he had Emile complaining about the tactics he was using. It was clear Benvenuti was there to win and was not going to give any ground.

Nino floored Griffith in the second round for a two count but the champion wasn’t hurt. In the fourth round the champion connected with a solid right that put the Italian down and had him hurt. Griffith was unable to take advantage of the moment and Nino, using his defenseive skills, survived the round. The rest of the fight was hard fought with Benvenuti bleeding from a cut on the bridge of his nose that he sustained in the second round.

Griffith worked the body hard in hopes of slowing Nino down in the later rounds, but the tactic did not work. To the chants of Neeno!, Neeno! from the crowd Benvenuti finished strong and won a unanimous decision bringing the Middleweight Crown to Italy for the first time.

After the fight the new champion had to be secluded in his dressing room for about an hour before meeting with the press as he was ill. No, not from the effects of the punches but rather from the emotions of having accomplished his dream.

Nino Benvenuti not only won the title that night, but he also gave boxing a much needed shot in the arm. He brought an excitement to the sport. He proved so popular that in his rematch with Griffith five months later it was decided to hold it at Shea Stadium. Nino would lose the title on a close majority decision that night and then regain it the following year.

Nino was now in his thirties and his fine boxing skills were slowly starting to diminish, though he still could dig down and show what made him a champion. He did just that in his defense against former Welterweight Champ Luis Rodriguez where he was taking a pretty good lacing and then flattened Luis for the count in the eleventh round with a perfectly timed uppercut. He defended the title four times before losing it to the great Carlos Monzon. After losing to Monzon in a rematch he retired. Benvenuti always said he would get out of the game when he no longer had it and he made good on that promise. He was one of the few who knew when it was time to pack it in.

Old Rivals Emile and Nino

He invested wisely, acted in movies, hosted a television show, and opened a restaurant. He also became a city counselor in his home town of Trieste. He maintained a friendship with Emile Griffith and helped him out financially. Griffith was godfather to one of his sons. Nino also became friends with Carlos Monzon and had him as a guest on his television program a number of times.

Nino Benvenuti is living la dolce vita in Italy. On April 26th he will celebrate his eightieth birthday making him the oldest living middleweight champion, though he looks years younger. He still flashes his infectious smile and looks more like a movie star than a former boxer.

Nino’s name is rarely mentioned when the topic of all time greats comes up, but he certainly was a very impressive boxer/puncher. He was a master at throwing a hook off the jab. He could move very fast, had great defense, a lethal right hand and a devastating uppercut. Nino was always very courageous in the ring and had no quit in him. He was a proud and popular champion and is still well loved in Italy.

His professional record was 90 total fights with 82 wins, 35 by knockout, 7 losses and 1 draw. He was stopped on only three occasions, two of those were in his final two bouts which were against Monzon.

Nino Benvenuti was a classy champion. He made the sport interesting and fun. He deserves to be remembered with the respect and dignity he earned. On April 26th raise a glass of wine to him and say “buon compleanno Nino Benvenuti campione”

100 Years Gone: Remembering John L. Sullivan

By Paul Beston

“I have anchored here,” John L. Sullivan said, speaking of Donelee Ross farm in Abington, Massachusetts, “until my time comes. There is no place like home.” It was at Donelee Ross that he died 100 years ago today, February 2, 1918, of heart failure at the age of 59. Surprisingly for a man whose exploits had often led the news, Sullivan’s passing did not make the front page of the New York Times, dominated by coverage of the war in Europe, in which American soldiers, shipping out across the Atlantic in ever-growing numbers, would soon start fighting. The country that Sullivan helped define—the America of the Gilded Age, what some called the Age of Confidence—already seemed quaint and far away, its outlines receding into history. Sullivan died a nineteenth-century man at his pastoral home, far from the mechanized clamor of a nation always impatient to race into the future.

Sullivan in 1881

“It is a dollar to a nickel that he is known to more people in this country than George Washington,” the Police Gazette had written of Sullivan as late as 1905. But like almost all heroes, his memory began to fade as the years passed.

By the time I encountered Sullivan in the 1970s, browsing books on boxing at my local library, he may as well have lived in Roman times. Younger generations see a great, lauded figure from the past, and they think to the present for reference. My point of comparison back then was Muhammad Ali, the only champion I’d yet known. Ali was then in his second reign as heavyweight champion and generally regarded as the most-recognized face on the planet. He was a hard man to compete with, even for his contemporaries; all the more so for those dim figures in boxing histories, who fought only in photos, not on film. They looked frozen in antiquity by comparison, their fighting stances ponderous, their bodies less defined. They wore tights. It was as if the history of boxing mimicked the timeline of the evolution of man, a slow accretion from crawling to walking, left to right, across a foldout page. Ali stood, arms raised, at the far right. Sullivan, barely off all fours, occupied the space on the far left. Or so it seemed to my young mind then.

It would be some time before I could understand Sullivan and his world and come to appreciate his fighting accomplishments and the trajectory of his remarkable life. He was champion for ten years, from 1882 to 1892, and he lost only one match, his last, to Jim Corbett, in New Orleans, losing the heavyweight championship along with it. They fought into the 21st round, and Sullivan took a relentless battering for over an hour before finally succumbing. His greatest victory was a 75-round marathon bout against Jake Kilrain in 1889, waged with bare fists under the old London Prize Ring rules, in 100-degree Mississippi heat. That battle lasted more than two hours and took on mythic qualities almost the moment that it was over—with fans gathering up sod, pieces of ring posts, and any other sacred relic that they could find. Sullivan vs. Kilrain stands alone in the history of boxing, a real-life myth. Nothing else compares with it.

Sullivan’s idea was that his possession of the heavyweight title made him an important person, a kind of king.

Certain people have ideas about themselves, and when they live out these ideas, they create new realities. Sullivan’s idea was that his possession of the heavyweight title made him an important person, a kind of king. There was no precedent for thinking so. There had been heavyweight champions before him. They were small-time figures, toiling in an illegal sport for modest payouts, and usually slipping into obscurity (and poverty) when their fighting days were over. None were known widely to the general public or written about with such fevered interest. When Sullivan won the title in 1882, prizefighting, as it was then largely known, was illegal in every state, and the efforts that went into making and staging matches were sometimes as dramatic as the matches themselves. When Sullivan left the ring, the sport remained broadly illegal, but his matches had been covered nationally and internationally; he had been to the White House; he had been the subject of literature, song, and art; he had made “the heavyweight championship of the world” (though he was not recognized overseas) into a compelling—and commercial—prize; and he had identified that title with America itself.

“There isn’t a self-respecting American,” he said, “no matter what tomfool ideas he may have about boxing in general, who does not feel patriotic pride at the thought that a native born American, a countryman of his, can lick any man on the face of the earth.” Where a void had been, Sullivan left behind a world. Alas, that world included the infamous color line, which Sullivan took it upon himself to draw against black fighters, shutting them out of a chance at the title. (It would take Jack Johnson to breach the line and Joe Louis to eradicate it.)

Even as a kid, ignorantly dismissive of him as a fighter, I was struck by Sullivan as a character. His story leapt off those musty library pages. He did everything on a grand scale: traveling, boasting, eating, drinking (especially drinking), and spending. He estimated later in life that he had earned about $1 million and squandered all of it. His famous boast, “I can lick any sonofabitch alive!” became an archetypal fighting man’s motto. It lingers today, as does “Shake the hand that shook the hand of the Great John L.!” a line that originated in a vaudeville song and became emblematic of the adulation so many Americans, especially men, had for him.

When I was working on The Boxing Kings, one of my brothers asked me where the book would begin. With John L. Sullivan, I said. Many years had passed since that name had come up in conversation between us. My brother thought for a moment and then, as if pulling the phrase from the mists, said: “Let me shake the hand that shook the hand of John L.—that’s him, right?” That’s him.

 

***

In 1905, the 47-year-old Sullivan was 13 years past his championship years and well into a second career as a touring stage personality—but he was also deeply mired in the alcoholism that scarred so much of his life: it had wrecked a marriage and several friendships, got him into scrapes with the law, cost him half a million dollars by his own estimation, nearly killed him more than once, and left behind him a long trail of terrible behavior. Now, sitting in a hotel bar in Terre Haute, Indiana, Sullivan drained a glass of champagne (ale, in other accounts) into a cuspidor and vowed never again to take another drink—and never did, amazing his friends and more importantly, laying the foundation for a new life. He became a temperance lecturer. A few years later, he married a childhood friend, Kate Harkins, and they settled on their humble estate, Donelee Ross— its name an amalgamation of their Irish ancestral origins—and farmed, among other things, potatoes. After Kate died in 1916, Sullivan took in an orphan boy, William Kelly, and at the time of his death seemed to be preparing to adopt him. By all accounts, he doted on the boy, who was left parent-less, again, by his passing. Sullivan was also adored by the children of Abingdon, whom he regaled with stories while letting them play on the farm. He gave generously to charity. Thus Sullivan, who had been as notorious as he was famous during his fighting days, died a cherished old lion, revered in a way not unlike Ebenezer Scrooge after his ghostly visitations. “I have seen it all,” he said, and he had—and perhaps had attained some measure of redemption, too.

The arc of Sullivan’s life and career would be recreated by some of his heavyweight successors, in addition to becoming a kind of celebrity template: rise, fall, rebirth. But for all its familiarity, the model has a timeless lesson: one is never counted out unless he counts himself out. A century after Sullivan poured out that last glass of booze, Mike Tyson began traveling a redemptive path of his own. The stages of his life and career had resembled Sullivan’s: spectacular, iconic success; decline, fall, and descent into caricature; reclamation. Like Sullivan, Tyson left much wreckage behind him and had battled the demon of substance abuse; like Sullivan, he found an anchor in a later marriage; and like Sullivan, he wound up on stage, giving his testimony. Not everyone buys this reformed Tyson, but few would describe him as the same man who served a three-year prison term for rape or bit off part of Evander Holyfield’s ear.

All the heavyweight champions had to start over in some form or another when their fighting days were done. Some of their transformations, like George Foreman’s, or, more somberly, Muhammad Ali’s, were dramatic, others more ordinary. The courses they took illustrated in different ways that the qualities that make champions—determination, will, and the capacity to envision something that others may not see—can be applied outside the ring as well, for more enduring purposes.

 

****

John L. Sullivan was buried in Old Calvary Cemetery (now Mount Calvary Cemetery) in Roslindale, beside Kate. “He was an old and valued friend, and I mourn his death,” Theodore Roosevelt said. It had been such a bitter winter, and the day of the funeral itself was so frigid, that the ground had to be dynamited to make room for his body—a parting touch he would surely have cherished. “Never has the American prize ring had such a character as Sullivan,” the New York Times observed, “and never again will the fighting game produce another man who will stamp his personality on the world of pugilism as the blunt, gray, old philosopher of Donelee Farm.” One hundred years have passed now, and great and memorable champions have come and gone to challenge that judgment. But John L. is father to them all.

Paul Beston is managing editor of City Journal and author of The Boxing Kings: When American Heavyweights Ruled the Ring.

 

Orlando At The Lyric Stage

The Lyric Stage

Presents

Virginia Woolf’s

Orlando

February 23rd through March 25th

 

Virginia Woolf’s Orlando adapted for the stage by Sarah Ruhl and directed by A. Nora Long will open at the Lyric Stage, Copley Square, Boston on February 23rd and run through March 25th.

In this joyful romance of gender roles and expectations, Orlando the man wakes up, after a particularly wild night in 17th century Constantinople, to find himself a woman. She abandons herself to three centuries of navigating love, desire, and the world from an entirely different perspective. Oft described as the most charming love letter in literature – written by Woolf to Vita Sackville-West – Sarah Ruhl brings the novel to life on stage in a grand, epic adventure that transcends time, place, and gender.

Caroline Lawton

The cast features Caroline Lawton as Orlando and includes Elise Arsenault, Michael Hisamoto, Rory Lambert-Wright, Jeff Marcus, and Hayley Spivey.

For more information: lyricstage.com

Box Office: 617.585.5678

 

 

An Up Close Richard III In Cambridge

Richard III
Actor’s Shakespeare Project
Swedenborg Chapel
Harvard Square, Cambridge
Through March 11

Reviewed by Bobby Franklin

One of the great enjoyments of Actor’s Shakespeare Project productions is they are held in different venues. This provides both an opportunity and a challenge for directors. In the decision to stage Richard III at the Swedenborg Chapel, director Robert Walsh was given both.

Upon entering the chapel and taking my seat in one of the pews, I was puzzled by how I would be able to see the play. After all, the only clearly visible place where an actor could be seen would be from the pulpit: Hardly the spot to stage the Battle of Bosworth Field.

The gothic architecture, shadowy lighting, and smell of incense in the air certainly created a fitting atmosphere in which to witness Gloucester as he plots and executes his way the throne. But again, there was the question of actually getting to see it all.

Steven Barkhimer as Richard III
Photo Credit: Nile Scott Shots

Director Walsh answered my question from the moment the opening lines were said. This production would not take place on a stage, it would happen amongst the audience. The action, or at least 90% of it happens in the aisles alongside and in between the pews. Theatre does not get any closer or more personal than this. This works particularly well with Richard III as I do not believe there is another character in the works of Shakespeare who speaks directly to the audience as much as the title character does.

I have seen productions of Richard III where Gloucester comes across quite cunning and charming almost to the point where the audience members felt taken in by him and had pangs of guilt towards the end when his ruthlessness is on full display.

This is not the way Steven Barkhimer plays him. Dressed in black, walking with a limp, arm in a sling, and wearing a beret in the first act, and a headband representing a crown in the second, Mr. Barkhimer gives us a Richard whose phony charm is easily seen through from the outset. This approach allows us to see just how quickly the other characters are willing to compromise their morals in order to share in his power. They are not being taken in by his cunning, but instead willfully sell out to him. It is his power that corrupts the others, not his charm.

Steven Barkhimer and Mara Sidmore
(Photo Credit: Nile Scott Shots)

The scene where Richard woos Anne while standing next to the body of her husband whom Richard had slain is a perfect example of this. The grieving Anne, played by Mara Sidmore, is disgusted by the overtures but also realizes the power she will gain by giving into Richard. Ms Sidmore plays this tension very well. It is morality versus practicality, and in spite of Anne’s protestations, we know early on what her decision will be. It’s not Richard’s talk, but rather what he has to offer that allows him to woo her in this way. Mara Sidmore is also excellent as Catesby. Wearing a black fedora style hat she elevates the role of Richard’s most loyal follower.

The cast is limited to six actors playing the numerous roles, and they all manage to move from one character to another along with their differing personalities seamlessly. Deaon Griffin-Pressley who plays Hastings, Rivers, Terrell, and Richmond also plays Murderer 2 opposite Paula Plum as Murderer 1. Mr. Griiffn-Pressley speaks with a Jamaican Patois while Ms Plum has the swagger of a 1930s movie gangster. It is an interesting combination and well chosen.

Ms Plum also plays Queen Elizabeth, and the scene where Richard attempts to get Elizaleth’s approval for marrying her daughter is particularly powerful in this intimate setting.

Michael Forden Walker plays Buckingham and Stanley, but is at his best in the role of the tragic Clarence. Clarence relating his dream is moving, and his plea for sparing his life is so dreadful and sad.

Jennie Israel
(Photo Credit: Nile Scott Shots)

And now to Jennie Israel. Ms Israel comes close to stealing the show as she plays Brackenbury, King Edward, and Ratcliff. Her Margaret is just wonderful. Her presence is strong but not overwhelming, and her rhythm is beautiful. Ms Israel and Ms Plum are also impressive in red bows playing the two young and ill fated princes.

Richmond’s speech before the Battle of Bosworth Field is always powerful but more so in the hands of Deaon Griffin-Pressley as he walks through the aisles addressing the audience. Given in this setting it is particularly effective.

Richard gives his speech from the pulpit which is the highest spot in the chapel to perform from, it is a fitting place to have him speak just before his downfall. Mr. Barkhimer shows the failing despot giving it his one last try to keep the troops in line.

The battle itself is something to witness. It is a dance/fight scene brilliantly choreographed with drums playing in the background and the actors banging sticks together as they move through the chapel. I did duck for cover on more than one occasion.

Deaon Griffin-Pressley and Paula Plum
(Photo credit: Nile Scott Shots)

I doubt you will get the chance again to see such an intimate production of Richard III, nor one so creatively done. The chapel setting could not be more perfect. The lighting, which I was told was limited and challenging was also very effective. There was one scene where shadows are cast on the back wall that elicited a gasp from the audience. It was something to see.

It is also great for people like me who tend to fidget in their seats. While seating is in the pews, they are quite comfortable, and the ASP has also allowed quite a bit of seating room so audience members have no trouble shifting around to watch the action as it moves about them, and that is great news for us fidgeters.

For those of my readers who enjoy Shakespeare, you will be very pleased by this production. For those of you who have shied away from seeing these great works there could be no better introduction. It is helpful to read a synopsis of the play before going, but don’t be intimidated by it. Sit back and let it play out before you. You will be wooed.

Every Brilliant Thing Opens At SpeakEasy Stage

The SpeakEasy Stage Presents Every Brilliant Thing

From March 2-31, 2018, SpeakEasy Stage Company will proudly present the Boston premiere of the charming and life-affirming solo show Every Brilliant Thing.

Written by British playwright Duncan MacMillan (Lungs; People, Places, and Things) , and originally performed by British comedian Jonny Donohoe, Every Brilliant Thing  explores depression, and looks at the lengths we will go to help those we love. The story begins when a young girl compiles a list of things worth living for in an effort to ease her mother’s sadness: things like ice cream, and water fights, and staying up past your bedtime to watch TV. Through adulthood, as the list grows, she comes to understand the deep significance the list has had on her own life, and the irrepressible resilience inside us all.

Adrianne Krstansky will star in this one person show, which explores this delicate topic with equal parts grace and humor. Ms. Krstansky recently won both an Elliot Norton and IRNE Award for her work as Lola in the Huntington Theatre Company’s production of Come Back, Little Sheba. Her SpeakEasy credits include lead roles in the Boston premieres of Tribes, Body Awareness, and Snakebit.

Marianna Bassham will be making her SpeakEasy directing debut with this production. Ms. Bassham received both an Elliot Norton and IRNE Award for her performance in SpeakEasy’s production of Blackbird. Her other SpeakEasy acting credits include In the Next Room (or The Vibrator Play); Reckless; and Hand to God. Ms. Bassham most recently appeared in as Marc Antony in an all-female production of Julius Caesar for Actors’ Shakespeare Project.

The design team for Every Brilliant Thing includes Eric Levenson (scenic and lighting); Amanda Ostrow Mason (costumes); Lee Schuna (sound), and Abby Shenker (props).

Becca Freifeld is the Production Stage Manager.

Every Brilliant Thing will run for five weeks, from March 2- 31, 2018 in the round in the Roberts Studio Theatre in the Stanford Calderwood Pavilion at the Boston Center for the Arts, 527 Tremont Street in Boston’s South End.

Ticket prices start at $25, with discounts for students, seniors, and persons age 25 and under.
For tickets or more information, the public is invited to call the box office at 617.933.8600 or visit www.SpeakEasyStage.com.

Joe Bugner

Joe Bugner
Former British Heavyweight Champ
Has Unique Accomplishment

By Bobby Franklin

Joe Bugner was born in Hungary in 1950. In 1956 during the Soviet invasion of the country his family fled to Great Britain where they settled. At school Joe excelled at sports and eventually gravitated to boxing, and after a brief amateur career he turned pro at the early age of 17. He got off to a poor start losing his first bout by a TKO in the third round.

That first loss did not discourage the young Bugner and he came back to win 18 straight, 13 by knockout. His next loss was to the more experienced American Dick Hall who won a decision over 19 year old Joe.

Again, undaunted, Bugner would go undefeated in his next 14 fights earning himself a shot against Henry Cooper for the British Empire and European Heavyweight Titles. Bugner won by the closest of decisions that was booed by the crowd, but sportswriters were mixed on who they believed the victor was. Unfortunately for Joe, it was not only the controversy over the scoring but the fact he had ended the career of the beloved Henry Cooper that caused the public to turn on him. Being the man who dethroned “Our ‘Enry” would prove a curse to him. Coupled with the fact he was not a native born Brit he would not receive the adulation he should have gotten.

Bugner was only 21 when he defeated Cooper and by that time he had already beaten such known heavyweights as Jack O’Halloran, George Johnson, Chuck Wepner, Brian London, and Eduardo Corletti.

Joe defended the European title against Jurgen Blin but lost all his titles in his next bout against Jack Bodell. Bugner was criticized for not fighting hard enough to beat the veteran, a cry that would be heard throughout his career. There is a reason many believe Joe would often back off in a fight.

In a fight earlier in his career he defeated a fighter by the name of Ulric Regis by decision. Regis collapsed after the bout and later died from a brain injury. An autopsy ruled the death was from a preexisting medical condition, but the memory of that tragedy buried in his subconscious, would cause him to hold back in fights.

After the loss to Bodell, Joe came back winning ten of his next eleven fights while also regaining the European Title. This would pave the way for him to fight former champ Muhammad Ali in 1973. That year would prove to be a pretty amazing one for Bugner and it is what made him unique.

He began the year with a victory over Rudi Lubbers and then traveled to Las Vegas to take on Ali. You may remember this bout as the one where Ali wore a robe into the ring that was given to him by Elvis Presley emblazoned in jewels with the words People’s Champ. At a party given days before the fight Joe met Elvis Presley and asked him if he could get a robe as well seeing that he was also a champion. When Elvis responded by saying ”You’re no champion” Bugner told the King to ”Stuff it” and walked out.

Joe went into the Ali fight an 8 to 1 underdog but gave a very good account of himself while losing a 12 round decision. You would think it would have been time for a rest, but not for the hard working Bugner.

In his very next fight less than five months later he took on former champ Joe Frazier in England. In the tenth round Frazier dropped Joe with a left hook, but Bugner arose and hurt the former champ near the end of the round. While the decision was not in doubt, Frazier knew he was in a fight and looked the worse for wear at the end. Joe Bugner left the ring with his head held high last night. He also left going down in history as the only man to fight Joe Frazier and Muhammad Ali in back to back fights.

Amazingly, Joe was not done fighting in 1973. He would close out the year with wins over Giuseppe Ros and the hard punching Mac Foster. He would continue winning bouts and earn a rematch with Ali who had by now regained the heavyweight crown. The fight took place on June 6, 1975 in Kuala Lumpur. Bugner was disappointing in this match fighting from a mostly defensive stance while losing a one sided decision. This performance further fueled the anti Bugner sentiment in England where it seemed he just could not get any respect from the fans.

At the age of just 25 he had gone the distance with Ali twice and Joe Frazier once. Taking the two former champs in the space of a few months was a truly remarkable feat, but one that is largely forgotten.

After the second loss to Ali, Bugner seemed to lose motivation. He continued fighting but at a much less hectic schedule. In many of his fights from this point on he did not appear to have the drive to again earn a title shot.

In 1986 he moved to Australia where he continued fighting as well as acting in movies. There was talk of him fighting Mike Tyson, but in 1987 after being stopped by Frank Bruno he retired. He was 37 years old at time.

He made a comeback in 1995 and won the Australian Heavyweight Title. He was victorious in 8 of his last 9 bouts before retiring for good at the age of 50 in 1999.

Joe Bugner is rarely mentioned when talk turns to the heavyweights of the 1970s, but he should not be forgotten. He had a stand up European style and possessed a very decent left jab. He could put together combinations when he wanted to. He ended his career with a very respectable record of 69 wins (41 by knockout), 13 losses, and 1 draw. He was only stopped on four occasions.

Joe should be remembered as the only man to step in the ring with Muhammad Ali and Joe Frazier in consecutive bouts. The fact that he did this within a few short months of each other is truly amazing, and for this Joe Bugner deserves respect.
https://youtu.be/NQ0zQy8Uxzs

Ogunquit Playhouse Announces 2018 Season

Oh, What a Beautiful Season! The Ogunquit Playhouse Announces Lineup for 2018

The legendary Ogunquit Playhouse is thrilled to produce five spectacular musicals for its upcoming season that includes an all-new production of the sizzling song and dance celebration Smokey Joe’s Café, the U.S. premiere of the hilarious new musical Grumpy Old Men, a beautiful new production of the classic Oklahoma!, and the first regional production of the sumptuous new musical An American in Paris. Closing out the season is a surprise smash musical sensation that will run for an unprecedented 8 weeks, from September 5 through October 28, which will be announced in March.
“We are elated to be heading into our 86th season with an extraordinary lineup of shows, and are very fortunate to be collaborating with show’s original producing team on an all-new production of Smokey Joes Café, which will transfer to New York following its run at the Ogunquit Playhouse,” stated Bradford Kenney, Ogunquit Playhouse Executive Artistic Director. “We have also been following the development of the brand new musical version of Grumpy Old Men and are delighted and honored to produce the U.S premiere of this hilarious new production for Playhouse audiences this season. Oklahoma! has had a long history at the Playhouse and we are thrilled to create a new production to celebrate its 75th anniversary. We are also excited to create a fresh new look for our regional premiere of the beautiful musical An American in Paris.”
www.ogunquitplayhouse.org. Box Office: 207.646.5511

 

 

Greb And The Southpaws

Having Fun With Boxing Lore

By Bobby Franklin

I have always maintained boxing is an addiction that is all but impossible to recover from. Once it is in your blood there is no getting rid of it. This applies to those who have actually competed (Once a boxer, always a boxer), or to those who get caught up in its very rich history.

Harry Greb

It is no secret baseball fans are sticklers for statistics, and boxing isn’t quite the numbers game that the American Past Time is. But in many ways the Sweet Science is even more fascinating when you start digging into the records of those who once made it great sport.

It seems like hardly a week goes by when I get a call, or I call, a fellow boxing aficionado and we share some new fact or oddity we have just learned. Sometimes these little known factoids just pop into our heads as if some enchanted muse of boxing has whispered to us. It is great fun to share these thoughts, and just about always the response is “Wow! I never thought of that”, or “That’s really amazing”.

By now I think we have amassed enough material to put together a game of Trivial Pursuit dedicated solely to boxing. We could also supply enough items to the TV show Jeopardy to keep them going with “Boxing” as a weekly category for years.

While a lot of these facts may not exactly excite the non boxing fan, they certainly prove to be great fun for those of us who are really into the history of the sport.

I have shared some of these in the past, and this week I want to offer up another.

Johnny Wilson

Harry Greb is considered by just about all boxing historians to have been one of the greatest fighters of all time. A few even rank him at the top of the list. Unfortunately, no film of him in action is known to exist, but just taking one look at his record is enough to confirm his being listed as great.

The other day I was thinking about Greb and the man from whom he won the title, my friend the late Johnny Wilson. I remembered talking with Johnny about their fights and how animated he would become when the name Harry Greb was mentioned even though decades had passed since they fought. I was recalling how Johnny was a southpaw and just how few middleweight champs had been southpaws. Then it hit me. Harry Greb not only won the title from a southpaw, but he lost it to one too.

The fellow who defeated him for the title was Tiger Flowers, also a leftie. As far as I have been able to determine this was the only time that a middleweight champion both won and lost the title to a left handed opponent. It may be the only time it has happened in any division.

Tiger Flowers

Is that a big deal? Not really. Does it change how we evaluate Greb’s greatness? Not at all. However, it is a lot of fun to come up with things like this, and it is a reminder about how many hidden gems there are to still uncover in boxing lore.

If you are into boxing history consider yourself an archeologist that is engaged in digging for more and more information among the ruins left behind. Grab your pick and start your search. You never know what you might find, but I’m sure you can come up with some artifact that will make the rest of us go “Wow! I didn’t know that”!

Clay vs Liston 1

Will We Ever Know What Really Happened?

By Bobby Franklin

On February 25, 1964 the young upstart Cassius Clay stepped into the ring in Miami Beach, Florida to take on Sonny Liston for the Heavyweight Championship of the World. The fight took place just three months after the assassination of President John F. Kennedy and, like the Kennedy assassination, it has sparked many theories about what really happened.

Clay went into the fight undefeated but as a 7 to 1 underdog which was no surprise, Liston had won the title with a devastating knock out of Floyd Patterson and just a year later he had repeated the victory in the same manner.

MIAMI, FL – FEBRUARY 25, 1964: Sonny Liston (L) throws a punch at Cassius Clay (R) in a World Heavyweight Title fight February 25, 1964 at Convention Hall in Miami, Florida.(Photo by Focus On Sport/Getty Images)

In Clay’s two previous fights leading up to the title shot he had won a very close decision over Doug Jones and stopped Henry Cooper on cuts. In the Cooper fight Clay was dropped by a left hook thrown by Henry and if the bell had not rung just as he got up may have been kayoed. Neither of these two opponents would have ever been confused with Sonny Liston.

There were some sportswriters who not only didn’t give Cassius a chance, they feared he could be killed by Sonny. But then the unthinkable happened; Cassius Clay “Shook up the world” when Liston quit while sitting on his stool after the 6th round. This was stunnung, and immediately the cries of the fight being fixed rang out.

How on Earth could this loudmouth 22 year kid have made the unbeatable Sonny Liston give up the title by quitting? You have to remember, Liston was not only the Heavyweight Champion but also the scariest and meanest man on the planet. His awesome power and baleful stare sent chills down the spines of not only his opponents but of almost anyone who was in his presence. To the public in1964 this outcome just didn’t make sense.

Why would Sonny Liston quit and give up the most valuable prize in all of sports? Nobody could know for sure and Sonny wasn’t talking other than to say he hurt his shoulder.

190.tif

One theory has it that Liston had bet a huge amount of money on himself and had planned to lose a fifteen round decision to Clay, but when it appeared Clay was going to quit after the fifth round Liston figured he had better hang it up first or he was going to lose his bet. Liston also knew there was a clause calling for a rematch in the event he lost.

It seems unlikely Liston could have wagered enough money on himself that it would have benefited him more than having the heavyweight title. Perhaps the mob had gotten to him and pressured him to quit. That’s possible too, but it doesn’t explain one thing, the reason Clay wanted to quit.

After the 4th round Cassius came back to his corner and complained to his trainer Angelo Dundee that he had something in his eyes that was burning and he couldn’t see. He told Angelo to cut off the gloves. Dundee washed his eyes out and pushed Clay out for the 5th round. Clay, still not able to see, got on his bicycle and danced around the ring keeping his distance from Sonny. Sonny couldn’t or wouldn’t lay a glove on him. Cassius survived the round and in the fifth he was back on track and was hitting Sonny with beautiful left jabs that were causing Liston’s face to swell.

The fact that Sonny’s corner may have put a substance on the champion’s gloves should dispel the theory that Liston went into the fight planning to lose. I recently spoke to boxing historian Mike Silver about this. Mike has written a very good article about the controversy over the gloves entitled “Foul Play In Philly” where he compares what happened in Miami in 1964 to a similar situation that occurred when Rocky Marciano was fighting Jersey Joe Walcott for the title. Marciano was also blinded for a number of rounds during that fight. Rocky was always convinced Walcott’s cornermen had put a substance on his gloves. It is also believed the same thing happened when Liston fought Eddie Machen. It is called juicing the gloves.

I told Mike his article proves once and for all Liston did not throw throw the fight. “Not necessarily” Mike responded, “What if the people in Liston’s corner didn’t know Sonny was throwing the fight?” This would be the “Lone Gunman Theory”. Liston could have made a deal on his own with the mob, and the less people who know about such a deal, the less likely it would be found out. Knowing Sonny’s background this is very plausible.

Another camp posits that Liston quit because he had been threatened by the Black Muslims and he feared he would be shot if he won. This one could be listed as the “Grassy Knoll Theory” where a gunman is hiding somewhere in the crowd waiting to assassinate Sonny if things don’t turn out as planned. Again, given Sonny’s background dealing with mobsters, this also is somewhat believable.

So, what do I think happened? I used to believe the theory that Liston was going to planning on losing a 15 decision to Clay but then quit when he thought Cassius was going to. I no longer agree with that. The way the fight was going I doubt Liston would have made it the full fifteen rounds. He was tiring and the swelling under his left eye was getting worse. Liston had only a total of less than six rounds of action in the ring since 1961 and only less then two rounds since 1962. He was also confident he could easily beat Clay so he did not train hard for the fight. Meanwhile, Cassius Clay was in superb shape and he had been very active. He had 17 fights since 1961 and a total of 91 rounds of action. Quite a difference.

Clay was also pumped for this fight while Liston wasn’t. Clay’s confidence, or possibly fear, put all of his defensive mechanisms on high alert. His adrenalin was flowing and that made his already amazing reflexes all that much sharper. Put this all together and the outcome does not seem as implausible as many believed. Sonny was ripe for the taking that night and Clay had the tools to do it.

I’ll save the Magic Bullet Theory for when I write about the rematch.

https://youtu.be/asBK0D-POmI

Lyric Stage Presents Orlando

Virginia Woolf’s
ORLANDO
Adapted by Sarah Ruhl Directed by A. Nora Long

February 23 – March 25, 2018
At The Lyric Stage, Boston

(Photo: Mark S. Howard)

In this joyful romance of gender roles and expectations, Orlando the man wakes up, after a particularly wild night in 17th-century Constantinople, to find himself a woman! She abandons herself to three centuries of navigating love, desire, and the world from an entirely different perspective.  Oft described as the most charming love letter in literature – written by Woolf to Vita Sackville-West – Sarah Ruhl brings the novel to life on stage in a grand, epic adventure that transcends time, place, and gender.

Featuring: Caroline Lawton as Orlando with Elise Arsenault, Michael Hisamoto, Rory Lambert-Wright, Jeff Marcus, Hayley Spivey.

The Lyric Stage, 140 Clarendon Street, Copley Square, Boston, MA  02116 lyric stage.com

 

Opening The Door To Talking About Depression and Suicide

Every Brilliant Thing
SpeakEasy Stage Company, Boston

Reviewed by Bobby Franklin

Every Brilliant Thing is a one person play about depression and suicide, two subjects that undoubtedly make most people very uncomfortable when talked about. But talked about they should be, and author Duncan Macmillan has shown us the way to do this in this charming, caring, and quite funny work that also conveys so much of what we should be hearing in any conversation about this subject.

Adrianne Krstansky
(Photo Credit: Maggie Hall)

The production now playing at the SpeakEasy Stage is set in the round with the lights up throughout the entire performance. It is billed as a one person piece, that one person being played by Adrianne Krstansky, but it also involves a tremendous amount of audience participation. Ms Krstansky, whose character remains unnamed throughout, is in the theater meeting with audience members as they take their seats. She is giving many of them slips of paper with a number and words written on them. She is also making eye contact with others to see who would be comfortable with being a part of the show but is careful not to make anyone feel uncomfortable as the whole point of this is to put people at ease while talking about difficult things.

The numbered slips of paper contain  entries from a list called Every Brilliant Thing, thoughts Ms Krstansky’s character began compiling at the age of seven as a way of coping with her mother’s depression and attempts at suicide. The list is not about material things, but is rather quotidian with thoughts such as “People who can’t sing, but don’t know or don’t care”, “Ice cream”, “Christopher Walken’s hair”, and “The prospect of dressing up as a Mexican wrestler”. You’ll find yourself making your own list as the play moves along.

Adrianne Krstansky
(Photo Credit: Maggie Hall)

Adrianne Krstansky moves about the stage and through the audience with calm and grace as she interacts with and has members step in to play various people who come into her life; There is the vet who euthanizes her dog, Mrs. Patterson who uses a sock puppet, the lecturer at university who has his students read Goethe’s The Sorrows of Young Werther, and her first love and future husband Sam. At the performance I attended, the young man who assumed the role of Sam became quite emotional at one point. The spontaneity made for a very touching experience, something that makes this work so powerful.

In an interview with the author in the program notes, Duncan Macmillan tells us he wants the work to show us a way to talk about the most serious things in a way that isn’t serious. Now, while that may sound a bit oxymoronic it is just what he has accomplished. Every Brilliant Thing does not leave you emotionally drained, but it does get a very serious message across, and while this isn’t a group therapy session you will feel a bond with the people sitting around you and especially with Ms Krstansky who speaks to and touches all of us.

If you suffer from depression or know anyone who does you will find comfort in this play. And for those of you who have known someone who has fallen victim to suicide or if you have had such thoughts you will find there are those who understand you. There is so much to learn from attending a performance. I didn’t know that whenever a high profile person takes his or her own life it cause a spike in suicides, something known as the Werther Effect. With depression it is, as Mr. Macmillan says, either “treated as a taboo and ignored, or it is fetishized and glamorized”. It should be neither. We have to learn to discuss it with the understanding and caring that is conveyed in this play, and that is why I believe the people who most would benefit from seeing it is those who think depression is something you can just will away, it isn’t.

Do not be afraid to see Every Brilliant Thing as you will not be forced to speak or play a part in it unless you want to. You will not be made to feel uncomfortable. The treatment of the darkness that touches so many of us is dealt with in a way that allows us to talk about it in order to dispel the shame that causes so many to withdraw to an even darker place. Putting words to suffering is such an important step in dealing with it. Having people with empathy and openness listening allows sufferers to feel unafraid to talk.

As I was exiting the theater I couldn’t help but think how leaving the stage lit during the play was a metaphor for us shedding light on a subject that has remained hidden for too long. For all of our so-called understanding of and openness about mental illness we are still miles away from removing the stigma attached to it. The SpeakEasy Stage Company, Adrianne Krstansky, Duncan Macmillan, and director Marianna Bassham have done much to change how we view this illness. This message should be heard. Every Brilliant Thing could be the most important play performed this season. It very well may change your life, and that is a good thing.

Every Brilliant Thing
SpeakEasy Stage, Calderwood Pavillon, South End, Boston
Written by Duncan Macmillan with Jonny Donahoe
Directed by Marianna Bassham
Performed by Adrianne Krstansky
SpeakEasy Stage Company
Calderwood Pavillion, South End, Boston
Through March 31
speakeasystage.com 617.933.8600

Rest In Peace Joey Giambra

Former Great Middleweight Contender
Passes At The Age Of 87

By Bobby Franklin

Joey Giambra

To realize what a master boxer Joey Giambra was all you had to do was look at his face after he retired. Giambra, who passed away on March 2nd, didn’t have a mark on him and still retained his Hollywood leading man good looks. He had fought many of the top contenders of his day during his 77 bout career and was never knocked out. In fact, he only lost ten fights with five of those losses coming in his last eight fights as his career was winding down. His last fight took place in Boston where he lost a disputed ten round decision to local favorite Joe DeNucci. Giambra took the fight on 24 hour notice filling in for Joey Archer who had been injured.

Joey Giambra’s record reads like a who’s who of the middleweight division in the 1950s. He went undefeated in his first 17 fights before losing a decision to the very experienced Johnny Cesario in 1951.

Joey was right back the next month defeating Albert Adams and went on to score ten straight victories before dropping a decision to future champ Joey Giardello. Giambra would come back less than a month later to beat Giardello. The two would have to wait until 1958 to have a rubber match in which Giambra took the decision.

Joey Giambra was an artist in the ring. He was an excellent defensive boxer who could also mix it up in close. He had an accurate left hook that he could deliver to the head as well as the body. His right hand was like a laser. Hitting him with a clean shot was next to impossible.

Joey Giambra and Billy Martin

In 1962 when Joey was past his prime he was nothing short of magnificent in taking the hard punching Florentino Fernadez apart, stopping him in the 7th round. If you want to see the bull vs the matador, watch that fight.

Giambra fought both at a distance and in close, beating Fernadez to the punch time after time, finally busting up Florentino so badly and breaking his nose, that the referee would not let him answer the bell for the 8th round.

Other names on Joey’s record were Carl Bobo Olson, Bobby Dykes, Yama Bahama, Rocky Castellani, Gil Turner, Chico Vejar, Rory Calhoun, and Ralph Jones.

With so many victories and possessing such talent the question to be asked is why did he never get a shot at the middleweight title? It turns out Joey was a straight shooter and he wouldn’t play ball with the mob. In an interview he gave to the L.A. Times in 1989 Giambra tells the story of what happened: “Jim Norris who ran the Garden then, liked me and wanted me to get rid of my manager, Mike Scanlon, and give me one of his guys as my manager. I said I wouldn’t do it. Norris looked at me and said, ‘You’re a nice kid, Joey, but you’re naive.’ I didn’t say anything because I didn’t know what naive meant.” That pretty much sealed his fate when it came to ever fighting for the title.

Joey Giardello and Joey Giamba

Joey had movie star good looks and many thought he could have had a career in Hollywood. It turns out he did have an appearance in a major motion picture. He was fighting in Reno in 1960 and Clark Gable and Marilyn Monroe were at ringside. Gable took notice of hm and the next day sent a guy to find Joey and had him play a small part in the movie “The Misfits”. Giambra got $1,000.00 for saying “Hey you”.

Giambra was born and raised in Buffalo, NY and later settled in Las Vegas where he worked as a blackjack dealer and later drove cab. He had a son and a daughter and after his wife ran off he raised both children himself, doing a fine job with them. Joey also worked with a foundation that helped keep elementary school kids off drugs. He stayed fit and active until he had a stroke at the age of 78. Joey was always a clean liver and a great example for how to live life the right way.

Joey Giambra, Boxing’s Elder Statesman

Joey Giambra was a man of integrity and great decency. He never sold out his principles and he never became bitter. He was also one of the most gifted boxers to ever lace on a pair of gloves.

Rest in Peace Joey, you were truly the Uncrowned Champ.

The Lyric Stage Presents Anna Christie

Anna Christie

By Eugene O’Neill Adapted By Scott Edmiston

Opens At The Lyric Stage April 6th
Runs Through May 6th

Winner of the Pulitzer Prize, O’Neill’s classic is a surprisingly contemporary play that crackles with fierce physicality, humor, and drama. After a 20-year separation, a coal barge captain (Lyric Stage favorite Johnny Lee Davenport) is reunited with the daughter he unknowingly abandoned to a life of hardship. When Anna falls in love with a shipwrecked sailor, her father and her suitor come to recognize their own culpability in her plight, and all three struggle in their own way for salvation. Following his acclaimed production of Who’s Afraid of Virginia Woolf?, Scott Edmiston takes a fresh look at one of America’s greatest playwrights.

A note from Director Scott Edmiston:

“In an era when most American plays were set in posh drawing rooms populated by wealthy white characters, O’Neill depicted a world of sea shanties, slums, and barrooms inhabited by the working class and immigrants, the outcast and oppressed, the lost and misbegotten. O’Neill offered them dignity and respect. He accepted them because he was one of them. He wrote complex female characters who were liberated beyond their time. He explored African American identity in the two groundbreaking works, The Emperor Jones (1920), which examines race-based violence, and All God’s Chillun’s Got Wings (1924), which portrays an interracial marriage. He refused to allow white actors in blackface in his plays and insisted on casting African American actors in the leading roles. Anna Christie, which premiered on Broadway in 1921 and earned him the second of his four Pulitzer Prizes, can be viewed as an early feminist drama. Tales of a

woman with a past were not new to the stage, but O’Neill dispelled the Victorian notion that prostitution was a result of female licentiousness. He tells Anna’s story with compassion and an awareness of gender economics. Consequently the role of Anna has become a favorite of great actresses including Ingrid Bergman, Liv Ullman, Natasha Richardson, and most recently Ruth Wilson. Greta Garbo chose the role for her first talking picture in 1930.

In adapting the play for 21st-century audiences, I’ve tried to remain true to O’Neill’s themes and the unique poetry of his hardscrabble dialogue. I’ve removed a few superfluous sailors, a bit of period slang, and the phonetically spelled dialect (Chris was originally Swedish). It’s my hope that this will intensify the conflict between the ill-fated trio of Chris, Mat, and Anna and place them center stage where their fight to find redemption remains as compelling to me as it was nearly 100 years ago.”

Johnny Lee Davenport

FEATURING:
Nancy E. Carroll, Johnny Lee Davenport, Lindsey McWhorter, James R. Milord, Dan Whelton

The Lyric Stage, 140 Clarendon Street, Copley Square, Boston, MA 02116
Box Office: 617-585-5678 lyricstage.com

Seaglass Performing Arts Announces Palm Sunday Concert

Seaglass Performing Arts

Under the direction of Jean Strazdes, Presents
“An Afternoon of Sacred Music by Fauré, Lauridsen and Bernstein”

Kennebunk, Maine

Seaglass Chorale, under the direction of Jean Strazdes, Artistic Director, will present selections from Bernstein’s Missa Brevis; Fauré’s Requiem and Lauridsen’s Lux Aeterna. In addition, there will be a performance of Bernstein’s Simple Song from the Mass by Ms. Strazdes.

One Performance Only: Palm Sunday Sunday, March 25, 2018
Christ Church
6 Dane Street

Kennebunk, Maine 3:00 pm

Tickets are available through Seaglass [at] gwi [dot] net, phone at 207.985.8747, and at Morse Hardware on Post Road in Wells. Tickets are also available at the door. Prices: $15/adult; $12/senior and student

Book Review: “Murderers’ Row: In Search of Boxing’s Greatest Outcasts”

By Springs Toledo

Foreword by Eddie Muller

Tora Book Publishing, 297 Pages

Reviewed by Mike Silver

“It was midnight when eighteen-year old Archie Moore jumped off a freight train at Poplar Bluff, Missouri. He ran four blocks to catch a truck that was to bring him back to Civilian Conservation Corps camp 3760. It was the summer of 1935….” So begins Murderers’ Row: In Search of Boxing’s Greatest Outcasts by Springs Toledo. To say that this book is just about the lives of eight of the greatest boxers to never win a world title is like saying John Steinbeck’s The Grapes of Wrath is just about a poor family in Depression era America. Springs Toledo has written not only a terrific boxing yarn, but an important social and historical document as well.

“To say this book is just about the lives of eight of the greatest boxers to never win a world title is like saying John Steinbeck’s The Grapes of Wrath is just about a poor family in Depression era America.”

Imagine you are the world’s greatest pianist but the powers that control the concert world will never let you play Carnegie Hall no matter how many great reviews and accolades you receive. Now imagine you are the top rated contender in the toughest and most brutal of all sports but no matter what you accomplish you are denied your ultimate goal—the opportunity to fight for a world championship. That was the situation for eight extraordinarily talented black professional boxers: Charley Burley, Holman Williams, Lloyd Marshall, Eddie Booker, Bert Lytell, Aaron “Little Tiger” Wade, Jack Chase and The Cocoa Kid. At various times during the late 1930s and through most of the 1940s they were all top rated contenders in several weight divisions. Yet not one of the reigning world champions would get into the ring with them. They were denied a shot at the title for reasons that included race, economics and the mob.

In this masterfully crafted and thoroughly researched paean to eight largely forgotten ring greats we not only learn about the amazing athletic achievements of these gifted artists, but also how their futile attempts to land a well-deserved title shot impacted their lives and the lives of their families.

Eddie Booker

In the early decades of the last century boxing was the only major professional sport that was open to African-American athletes. It was also one of the few professions that gave blacks access to the type of wealth and fame that would have been unthinkable a generation earlier. For the poorest segments of society boxing was seen as a way to escape poverty and attain riches and fame. Nevertheless, the black man’s status as a second class citizen was a burden that extended into the sport of boxing as it did everywhere else. Racism played its part but so did economics. If someone offers a champion enough dough to risk his title against a tough challenger you’ve got a match—most of the time. But if there is a good chance a popular champion will lose his title to a fighter who is less of a drawing card—and many a top black fighter did not have the same following as a popular but less talented white champion—a promoter would be less inclined to put on the match. Yet, as Toledo points out, sometimes even the right price was still not enough to entice a champion into the ring with these dark destroyers.

It was common knowledge that having the right “connections” could help ease the way to a title shot. A mob managed boxer had a better chance at lucrative matches in major arenas than an independent. Realizing that their only chance to secure a title fight involved handing over their careers to the organized crime figures who controlled big time boxing, a few decided to go that route. But in making a bargain with the devil these proud warriors paid a heavy price that included being ordered to throw fights.

“Abused and cheated and unable to make a decent living, some turned to drink, further eroding their spirit and their skills”.

Toledo takes the reader behind the scenes and reveals the sordid underbelly of boxing. Abused and cheated and unable to make a decent living, some turned to drink, further eroding their spirit and their skills. Most poignant is the story of The Cocoa Kid (real name Lewis Hardwick). He was the son of a Puerto Rican mother of Spanish descent and an African American father. The Cocoa Kid had over 246 professional fights. For eighty-one months between 1933 and 1947, he was a top contender in the lightweight, welterweight, and middleweight divisions. No champion dared face him in his prime, not Barney Ross, not Henry Armstrong. By the late 1950s Cocoa was wandering Times Square, homeless and suffering from dementia. Admitted to a hospital, he didn’t know who he was. Fingerprints sent to the Navy (he was a veteran) identified him. He died alone and forgotten on December 2, 1966.

Cocoa Kid

The other stories are just as compelling, if not as tragic. Aaron “Little Tiger” Wade, least known of the group, was for a time rated the third best middleweight in the world. A squat 5’5” powerhouse he defeated Archie Moore, Cocoa Kid and Bert Lytell. Faced with the pressure to throw fights he became a bit unstable and battled alcoholism for much of his career, sometimes fighting when drunk. Wade’s story ends well. In his mid-40s he became a born again Christian, stopped drinking, reunited with his family and took a full time job at the Gallo Wine warehouse (a job that certainly tested his resolve). He also began studying for the ministry, eventually opening a store front church in the Fillmore district of San Francisco that served the poor of his community.

“All told, Marshall and the other Murderers’ Row contingent defeated a dozen future and former champions from featherweight to heavyweight no less than 17 times.”

Lloyd Marshall, one of the most feared fighters of his era, whipped Jake La Motta, Joey Maxim and Ezzard Charles—three future champions at middleweight, light heavyweight, and heavyweight. All told, Marshall and the other Murderers’ Row contingent defeated a dozen future and former champions from featherweight to heavyweight no less than 17 times.

What makes this book such an enjoyable experience to read is Toledo’s descriptive and colorful writing style. He not only knows his boxing history, he understands the nuances of boxing technique. In his segment on Charley Burley, who many consider the best of the golden eight, he writes: “Charley Burley’s style was as complex as tax law. An uncanny sense of timing and distance allowed him to find blind spots and he would often leap into shots that carried enough force to anesthetize anyone, including full blown heavyweights.”

Charley Burley

Burley tried for years to get a shot at Sugar Ray Robinson’s welter or middleweight titles. Robinson, along with Joe Louis and Henry Armstrong, had proved to be the exception to the rule. These great black fighters managed the rare accomplishment of becoming cross over stars whose extreme popularity cut across racial lines. No doubt if someone offered enough money to Ray he would have complied, but it would have taken more than a small fortune to entice him into the ring against as formidable a challenger as Burley.
Since they were so often dodged by the top contenders and champions the best way for the elite eight to keep active and earn a payday was to fight each other as often as possible. And fight each other they did!—no less than 62 times. “It was a frenzy”, writes Toledo, “a free-for-all, a battle royal from the bad old days.” They matched up so evenly that a win in one fight could not guarantee the same result in a rematch. In the words of boxing scribe Jim Murray, who witnessed many of these classic encounters, they “put on better fights in tank towns than champions did in Yankee Stadium.”

The last of the Murderers’ Row had his final fight in 1951. Eventually their names drifted off into obscurity. As Springs Toledo points out, they would have remained mostly forgotten if not for Archie Moore. The wonderful “Old Mongoose” would have been counted as a Murderers’ Row member had he not won the light heavyweight title in 1952, at the age of 36, in his 171st pro fight. During the long and frustrating road to a title shot Moore was exposed to more than his share of boxing’s corruption and injustices. He knew that fate had been kinder to him than his former Murderers’ Row opponents.

“They would have remained mostly forgotten if not for Archie Moore.”

It is to Moore’s credit that he resurrected their names out of sympathy and respect. Beginning in the 1960s, whenever he was interviewed about his own remarkable career, Moore made it a point to mention them by name. Although he couldn’t correct the injustices done to them, he could at least make the world aware of their greatness. After all, who would know that better than Archie Moore? All eight were good enough to fight on even terms or better against him.

It was Budd Schulberg who first referred to several of the elite eight (in addition to other notable black fighters) as “That murderer’s row of Negro middleweights carefully avoided by title holders” in an article for Esquire in 1962. Since then authors Alan Rosenfeld and Harry Otty have given us two outstanding biographies of Charley Burley. And now thanks to Spring Toledo’s contribution the story of the Murderers’ Row is complete. “Consider me something of a private investigator”, he writes, “inspired by the memories of Archie Moore and hired by ghosts.” I have no doubt those ghosts are very pleased with the result.

Mike Silver is the author of The Arc of Boxing: The Rise and Decline of the Sweet Science and Stars in the Ring: Jewish Champions in the Golden Age of Boxing.  All are available at Amazon.com

 

Ogunquit Playhouse Adds Jersey Boys To Its 2018 Season

Also Receives 17 IRNE Award Nominations
For 2017 Season

By Bobby Franklin

It is an exciting time for theatre goers who will be traveling the short distance to Ogunquit, Maine this summer to attend performances during the 86th season at the legendary Ogunquit Playhouse. In addition to an already fabulous lineup that includes productions of Smokey Joe’s Cafe, Oklahoma!, An American In Paris, and Grumpy Old Men, Executive Artistic Director Brad Kenney has announced that the Northeast regional premiere of Jersey Boys will cap off the season. The hit show featuring the music of Frankie Valli and The Four Seasons will run from September 5 to October 28. Tickets will certainly be in demand for this one.

This is as fine a lineup as I have seen from the amazing creative team at the Playhouse and will certainly be an enjoyable way to mix the theatre experience in with all of the other wonderful things the Ogunquit area has to offer for summer fun.

I’ve been covering the Ogunquit Playhouse for a number of years now, and while no theater is able to bat 1000, the creative team under the very able leadership of Brad Kenney hits the ball to the fences much more often then not and has a very strong record of home runs to its credit. This is as close to Broadway quality as you will find outside of New York City, and I have to say some productions I have seen surpass those on the Great White Way.

Vincent Pastore (Nick Valente) and Reed Campbell (Cheech) With Ensemble

The Playhouse has received 17 award nominations from Independent Reviewers of New England (IRNE) for 2017. Five nominations go to Bullets Over Broadway. It been nominated for Best Musical, In addition, Reed Campbell is up for Best Actor for his role as Cheech, and Sally Struthers for Best Supporting Actress for her performance as Eden Bent. Jeff Whiting is up for two awards, Best Choreography and Best Director.

Christopher Ash has been nominated for Best Production Design for his work on From Here To Eternity.

Cast of Ragtime
(Photo: Gary Ng)

Ragtime has been nominated for eleven IRNE Awards including Best Musical, Best Ensemble, and Best Director to Seth Sklar-Heyn. Jeffrey Campos for Best Music Director, Kevin Heard for Sound Design, and Jesse Robb for Best Choreography. Kirsten Scott is nominated as Best Actress for her role as Mother, and Best Supporting Actor nomination goes to Julian Decker for his performance as Little Brother. Josh Young and Darnell Abraham both have been nominated for a Best Actor Award parts, Decker for his role as Tateh, and Abraham for Coalhouse. And finally, my favorite, Tyler Wladis who has been nominated as Most Promising Young Performer for his outstanding performance as The Young Boy.

Brad Kenney

Bradford Kenney, Executive Artistic Director at the Ogunquit Playhouse said, “To be recognized once again by the IRNE nominating committee alongside some of New England’s leading theatres is a great honor. We are extremely proud of our beautiful production of Ragtime, the hilarious Bullets Over Broadway and of our regional premiere of From Here to Eternity. Congratulations to our exceptional creative teams and casts who made our 85th Anniversary season a success. We want to extend our congratulations to all nominees who have been recognized by the IRNE Awards.”

The awards ceremony will take place on April 23 at the 1200 Hotel in Brookline, Ma and will be an exciting time for all involved. Pass the envelope please.

www.Ogunquitplayhouse.org  207.646.5511

Cooking With The Calamari Sisters Opens April 12th

COOKING WITH THE CALAMARI SISTERS
JUST WHEN YOU THOUGHT IT WAS SAFE TO GO BACK INTO THE KITCHEN
Limited Six Week Run April 12 to May 20, 2018 at the Regent Theatre in Arlington, MA

Mangia Italiano! Hilarity, delicious dishes and two over-the- top plus-size Italian sisters from Brooklyn, stars of their very own fictional cable television show, take you on a tour-de-force of show tunes, pop and Italian songs & cuisine. Songs like (Volare, Botcha – Me and much more; you’ll find yourself dancing and laughing through a very special cooking musical comedy in Cooking With The Calamari Sisters.
New York Newsday called Cooking With The Calamari Sisters “delightful and absolutely delicious.”
Straight from sold-out engagements across the country, be prepared to eat your heart out and laugh until your sides hurt as Delphine & Carmela perform outrageous musical numbers while designing their latest culinary offerings.
Don’t be surprised if they get a bit naughty when they update their treasured family recipes with saucy secrets and anecdotes that will leave you rolling in the aisles. And who knows? You may get a chance to sample these two sisters’ kitchen creations.
April12 through May 20. The Regent Theater, 12 Medford Street, Arlington, Ma. 1-855-448-7469 or PlayhouseInfo.com

SpeakEasy Announces 2018-2019 Season

FUN HOME, ONCE, BETWEEN RIVERSIDE AND CRAZY, SMALL MOUTH SOUNDS, SCHOOL GIRLS, AND THE VIEW UPSTAIRS HIGHLIGHT SPEAKEASY’S 2018-2019 SEASON

The Tony Award-winning musicals FUN HOME and ONCE, the Pulitzer Prize-winning drama BETWEEN RIVERSIDE AND CRAZY; the Off-Broadway sensations SCHOOL GIRLS; OR THE AFRICAN MEAN GIRLS PLAY and SMALL MOUTH SOUNDS; and the triumphant new musical THE VIEW UPSTAIRS will make up SpeakEasy Stage Company’s 2018-2019 Season, the company’s Founder and Producing Artistic Director Paul Daigneault announced today.

In addition, the company’s new works program, THE BOSTON PROJECT, has been renewed for a third season, offering two more Boston playwrights commissions to create new plays about what it means to live in this city at this moment.
The schedule for SpeakEasy Stage Company’s 2018-2019 Season will be:

BETWEEN RIVERSIDE AND CRAZY –By Stephen Adly Guirgis / Sept. 7 – Oct. 6, 2018

FUN HOME– Music by Jeanine Tesori, Book and Lyrics by Lisa Kron,
Based on the graphic novel by, Alison Bechdel / Oct. 19-Nov. 17, 2018

SMALL MOUTH SOUNDS – by Bess Wohl / Jan. 4- Feb. 2, 2019

ONCE – by Enda Walsh, Music and Lyrics by Glen Hansard and Markéta Irglová
Based on the motion picture written and directed by John Carney / Mar. 1 – 30, 2019

SCHOOL GIRLS; OR, THE AFRICAN MEAN GIRLS PLAY – by Jocelyn Bioh / May 3 – 25, 2019

THE VIEW UPSTAIRS – by Max Vernon / May 31-Jun 22, 2019

“Once again I am excited to offer Boston audiences an ambitious and entertaining slate of the very best contemporary plays and musicals,” said Daigneault, in announcing the new line-up. “Each of these shows is uniquely theatrical and celebrates the importance of sharing our stories to better appreciate our common humanity.”

“I am also excited for the many opportunities these shows offer a diverse group of local artists, both young talent and experienced professionals. It’s going to be a very exciting year!”

For more information on SpeakEasy’s 28th Season, the public can call the Boston Theatre Scene Box Office at 617-933-8600 or go online to www.SpeakEasyStage.com.

“The Brain Of A Boxer”, Documentary Available April 6th

The Brain Of A Boxer
This Very Important Documentary
Available On Amazon, ITunes, and Google Play April 6th

A year and a half ago I had the opportunity to view Unforgotten: The Story Of Paul Pender at the Boston Film Festival has won numerous awards. The movie, directed by Felice Leeds, looks at the life of former Middleweight Champion Paul Pender, and included rare footage of Paul’s career along with much interesting commentary. More importantly, it took an in-depth view of the toll repeated trauma to the the head took on the former champ’s brain. The movie has now been released to the public and is available at Amazon, iTunes, and Google Play. It has been renamed The Brain Of A Boxer. The new title, along with its broad availability, will, I hope, ensure this important film receives a wide viewership.

When Paul Pender died in 2003 after suffering years from symptoms of dementia, it was concluded the cause of death was due to Alzheimer’s disease. It wasn’t until his courageous widow Rose allowed research to be done on his brain that it was found that he had not been suffering from Alzheimer’s, but rather it was Chronic Traumatic Encephalopathy (CTE) that caused the deterioration in Paul’s brain and eventually led to his death. Furthermore, this damage very possibly began during his days playing high school football.

Paul Pender

Much has been learned about CTE in recent years. Lawsuits reaching into the billions of dollars have been filed against the NFL by families of football players suffering from this horrible, and very preventable, disease. Public awareness is growing about the injuries being inflicted on the young participants who engage in contact sports. More parents are less inclined to allow their children to play football our climb into a boxing ring because of the high risk of brain damage involved in such participation. However, the public still has a desire to view these sports and is willing to pay huge sums of money to do so, and as long as the money is there people will be enticed to take up these professions.

In The Brain Of A Boxer you will learn much about the causes of and the research being done about CTE. Most of us assume brain damage is caused by serious concussions which usually result in unconsciousness. However, research has shown how even minor hits to the head, especially when received by young adults and children, causes damage. It is very important for parents to be aware of the dangers involved in many of the sports their children are participating in, and to find alternatives for them. Learning the competitive spirit and having children challenge themselves physically is a very important part of growing up, but having a brain that is injured beyond repair is not worth the price of that experience.

In making The Brain Of A Boxer, Felice Leeds has included interviews with many people from the world of boxing as well as from medical circles. Hearing from those who knew Paul Pender gives us insight into the man. Paul hardly fit the stereotype of the boxer as is seen in so many Hollywood movies. He had a deep intellect and a love for language. It would have been no surprise had he followed a different path in life, such as becoming a college professor.

Former boxers, boxing experts, and friends of Pauls such as former Champ Tony DeMarco, Joe DeNucci, historians Dan Cuoco and Mike Silver, former amateur boxing star Richard Torsney, sportswriter Bud Collins, and Richard Johnson the curator of the Sports Museum in Boston all bring their memories of Paul Pender to life. He was a complicated and interesting man.

Dr. Ann KcKee

For the medical perspective we hear from Dr. Ann McKee who’s tireless research on CTE has done so much to shed light on this terrible problem. Dr. McKee was recently named Bostonian of the Year by the Boston Globe. She has been studying the brains of deceased athletes for a number of years and the results of her findings are stunning. It has been learned that CTE can show up in the brains of athletes at a very young age. It is a progressive disease that gets worse with time and has no cure. It is also a very preventable disease. By no longer allowing athletes to receive trauma to the head the disease can be eliminated from sports.

Rose Pender

Ms Leeds describes Rose Pender, the widow of Paul, as the true hero in this story. It was Rose who made the very difficult decision to allow her husband’s brain to be used for research. Paul Pender’s brain was the first to be studied. If not for the actions of this very courageous woman research into CTE may have been delayed for years.

The Brain Of A Boxer is a very interesting and important film. For those who love boxing there is much to enjoy. The archival footage is just amazing. Hearing the voice of Paul Pender as he talks about the dark side of boxing is eye opening. Also, for those of us who have loved boxing all of our lives, it forces us to confront some very difficult realities. Is the pleasure we get from watching athletes inflict head injuries on each other really something we should accept? Is it time to rethink how we view contact sports? And just maybe we should ask ourselves, would we allow our sons and daughters to take part in sports that can cause such serious damage to their brains? If the answer is no, than we have to deal with the question of allowing others to do so.

The Brain Of A Boxer is an important contribution to the discussion surrounding these issues. It is an excellent film, well crafted and fascinating to watch.

Richard Johnson, the curator of the Sports Museum in Boston, best described it. I believe he was quoting Paul Pender when he said “It is a full day if you have laughed and cried.” This documentary will make you do both.

Tony DeMarco and Felice Leeds

Many thanks to Felice Leeds for making this film. I urge everyone to see it now that they have the chance. It will make you laugh and cry. And I hope it will make you think about the price so many athletes pay for entertaining us.

The Brain Of a Boxer
Directed By Felice Leeds
Available at iTunes, Amazon, and Google Play
For more information go to:
http://facebook.com/unforgottenchamp

Unpacking Anna Christie At The Lyric

Anna Christie
By Eugene O’Neill
Directed by Scott Edmiston
The Lyric Stage, Boston
lyricstage.com

Through May 6th

Reviewed by Bobby Franklin

When Lindsey McWhorter first steps onto the stage in the role of Anna Christie she is carrying a suitcase. This single piece of luggage that doesn’t look particularly large or heavy,  Anna is toting as if it contains the weight of the world. And, symbolically, it does. Anna has returned to see her father after an absence of 20 years. She has had an undisclosed illness and to convalesce has made the trip to New York from Minnesota. She was sent to Minnesota to live with relatives after her mother died.

Nancy E. Carroll and Lindsey McWhorter
(Photo Credit: Mark S. Howard)

Chris (Johnny Lee Davenport), Anna’s father had received a letter from her announcing her planned visit. While excited about seeing her again, he is nervous and also has to adjust his living arrangements as he doesn’t want his daughter thinking ill of him. This means telling his live in girlfriend and drinking buddy Marthy (Nancy E. Carroll) she will have to move off the the barge they have been sharing. Marthy is at first angry but understands.

By chance, Marthy meets Anna before she has a chance to see her father. The two share drinks in the local bar. Marthy quickly picks up on the fact Anna is no stranger to hard drinking. She can also sense Anna has brought more luggage with her than what is in her suitcase.

The dialog is what you would expect of Eugene O’Neill, intense but not heavy. A lot is said but none of it is superfluous. These are the type of words I would imagine actors must savor working with. And this cast is made up of some very fine actors.

Johnny Lee Davenport, Lindsey McWhorter,Dan Whelton
(Photo Credit: Mark S.Howard)

Ms McWhorter is powerful from start to finish. Her Anna, with a hard exterior formed from years of abandonment and abuse from the men around her, still hasn’t lost the desire to be loved. She does struggle with her lack of self worth and suspicion of men, yet retains a strength and a desire to be accepted for who she is, faults and all.

Johnny Lee Davenport’s Chris couldn’t be better. From the moment he orders his first drink and starts speaking with his rich voice I felt I wanted to pull up a chair next to him and join in. Chris has not led an easy life either. He sent Anna off in hopes of allowing her to have a better life, one away from men who make their living at sea. Mr. Davenport conveys the love that Chris never lost for Anna. His pride for her shows in his body language and eyes when he speaks of, and anticipates, his daughter’s return.

Things become more complicated when an Irish seaman by the name of Mat (Dan Whelton) is washed ashore after a shipwreck and he and Anna begin to fall in love. Anna’s distrust of men is one obstacle, but other tings in her past are also something she struggles to deal with. It is now that her baggage begins to be unpacked.

Johnny Lee Davenport and Dan Whelton
(Photo Credit: Mark S. Howard)

Dan Whelton displays a wonderful Irish accent as he goes back and forth with Anna and Chris. Mr. Whelton and Mr. Davenport have a wonderful energy between them as they seem at times ready to kill one another, yet are very much alike; Stubborn, bullheaded, and kind hearted.

Unfortunately, Nancy E. Carroll’s Marthy is not on stage after the first act, but while she is, it is a joy watching her perform. She speaks the words O’Neill has written with a swagger reminiscent of a character from a 1930’s gangster movie; a touch of Edward G. Robinson and Jimmy Cagney. This conveys the rough edge she has from living and working on the waterfront as well as her way of dealing with the rough edged men in her life. And, as with the others, she betrays a tenderness and understanding. It works very well.

James R. Milord plays Larry the barkeeper. After having served Chris and Anna hard liquor separately, he shows subtle amusement when each tones down their wicked ways in order to put on a good face for the other.

Watching all of this unfold is sad, touching, and even funny at times. Director Scott Edmiston has pared done the script without losing any of the essential parts, leaving us with a Eugene O’Neill play that takes place in less than two hours.

I’m sure that many will read into this work issues of the power men have over women and how women deal with it. While that is understandable, it is also good to see this as what happens when people are able to accept each other with all their faults, face their own weakness, and allow better natures to prevail. This is a story that could have ended on a very ugly note. It didn’t, and we can all learn from that.

Eugene O’Neill’s works are among the greatest in American drama. They can be very heavy and usually are long but also amazing. This play is deep and filled with emotion, but it will not leave you filled with despair, and it certainly is not drawn out. Director Scott Edmiston has gotten it right, and I would encourage those who have not taken in a work by O’Neill to start here. It will stir your emotions but not overwhelm you. You will see five very fine actors working with the words of a great playwright. And, you will see it all at the wonderful Lyric Stage Theater, a warm and intimate performing venue.

“Two Jews Walk Into A War…” Opens At The New Rep

Two Jews Walk Into A War…

By Seth Rozin

Directed By Will LeBow

April 28th Through May 20, 2018

New Repertory Theatre presents Two Jews Walk into a War…, April 28-May 20, 2018 in the MainStage Theater at the Mosesian Center for the Arts, 321 Arsenal Street, Watertown, MA.

“New Repertory Theatre is pleased to conclude our 2017-2018 season with the Vaudeville-inspired comedy Two Jews Walk into A War by Seth Rozin,” says Artistic Director Jim Petosa. “During a season in which we celebrate the remarkable resilience of the human spirit, this play captures that element eloquently with both charm and wit. As we witness the two characters in this play working together to save their religion against all hope, we’re reminded that it is from these small foundations that we are reminded of the power of persistence.” 

“New Rep is excited to welcome back both Joel Colodner and Jeremiah Kissel to our stage,” says Managing Director Harriet Sheets. “We’re pleased to have them reunite in this production after performing together in the critically-acclaimed Imagining Madoff. Separately, they most recently appeared in some of our favorite shows: Jeremiah having last appeared in our smash hit Fiddler on the Roof, and Joel in our production of Freud’s Last Session, among many others. We hope all will join us as our 2017-2018 season comes to a rousing conclusion with this hilarious comedy.” 

About TWO JEWS WALK INTO A WAR… 

What do you do if you’re the last two Jews in Afghanistan? You re-write the Torah, of course! Ishaq and Zeblyan are on a mission to save Judaism in Kabul by rebuilding their synagogue and keeping the faith alive, but only if they don’t kill each other first. Jeremiah Kissel (Fiddler on the Roof, Broken Glass, The King of Second Avenue, Imagining Madoff) and Joel Colodner (Regular Singing, Freud’s Last Session, Imagining Madoff) star in this Vaudeville-inspired play, doing their best in a shtick-y situation. 

Box office: 617-923-8487 or visiting newrep.org.

“Allegiance” Opens At SpeakEasy May 4

East Coast Premiere Of A New Version Of The Broadway Musical 

Allegiance 

Begins May 4 At The SpeakEasy Stage

From May 4 through June 2, 2018, SpeakEasy Stage will proudly present the East Coast Premiere of a new version of the acclaimed Broadway musical  Allegiance.  

 Inspired by the true childhood experience of TV/film actor and social media icon George Takei (Mr. Sulu on “Star Trek”), Allegiance tells the story of the Kimura family, whose lives are upended when they and 120,000 other Japanese-Americans are forced to leave their homes following the events at Pearl Harbor.  Sam Kimura seeks to prove his patriotism by fighting for his country in the war, but sister Kei fiercely protests the government’s treatment of her people.  An uplifting testament to the power of the human spirit, Allegiance follows the Kimuras as they fight between duty and defiance, custom and change, family bonds and forbidden loves.  

     This powerful and timely musical features a book by Marc Acito, Jay Kuo, and Lorenzo Thione,  and music and lyrics by Jay Kuo.

     SpeakEasy Founder and Producing Artistic Director Paul Daigneault will direct the New England premiere of Allegiance. The artistic team also includes Music Director Matthew Stern and Choreographer Ilyse Robbins.

   The cast for this New England Premiere production is Eymard Cabling, Paige Clark, Ron Domingo, Melissa Geerlof, Michael Hisamoto, Elaine Hom, Ryan Mardesich, Gary Thomas Ng, Ben Oehlkers, Isaac Phaman Reynolds, Tyler Simahk, Sam Tanabe, Rachel Wirtz, Micheline Wu, Kendyl Yokoyama, and Grace Yoo.

 Allegiance had its first reading at the Japanese American National Museum on July, 13, 2009, starring George Takei. That was quickly followed by two more readings in New York City in 2010, followed by a workshop in San Diego in 2011. The musical premiered in September, 2012 at San Diego’s Old Globe Theatre, where it broke box-office records.  The musical began previews on Broadway on October 6, 2015, and ran through February 14, 2016.  Allegiance was reworked a bit for its West Coast premiere at the East West Players in Los Angeles, where the show concluded a six-week run on April 1, 2018.  SpeakEasy Stage is presenting the East Coast Premiere of this new version of the show.  

Allegiance will run for five weeks, from May 4 through June 2, 2018, in the Roberts Studio Theatre in the Stanford Calderwood Pavilion at the Boston Center for the Arts, 527 Tremont Street in Boston’s South End.

 617.933.8600 or visit www.SpeakEasyStage.com .                 

Reagle Music Theatre of Greater Boston

Reagle Music Theatre of Greater Boston

Announces 50th Annual Summer Season

A Chorus Line, Anything Goes, and The Music Man are on tap for this year’s summer season at the Reagle Music Theatre located at the Robinson Theater, 617 Lexington Street, Waltham. The three classic musicals will be directed by Leslie Woodies, Eileen Grace, and Susan Chebookjian respectively. 

A Chorus Line will run for 8 performances from June 7 through June 17. Anything Goes will have 8 performances running from July 5 through July 15, and The Music Man will close out the season also running for 8 performances from August 2 through August 12. 

For more information contact the box office at 781-891-5600, or go to 

www.reaglemusictheatre.org 

New York Bound Smokey Joes Cafe Set to Open the Ogunquit Playhouse 2018 Season

New Version Of The Hit Musical Opens May 16

 The Ogunquit Playhouse kicks off its 86th season with the all-new incarnation of the sizzling song and dance celebration Smokey Joe’s Cafe: The Songs of Leiber and Stoller on stage May 16 to June 9. This exuberant production of the record breaking Broadway smash hit is directed and choreographed by Emmy Award-winner and Tony Award-nominee Josh Bergasse who will bring new life to more than 30 classic songs including “Stand by Me,” “I’m a Woman,” “Hound Dog,” “Fools Fall In Love,” “On Broadway,” “Yakety Yak,” “Pearl’s a Singer,” “Treat Me Nice,” “There Goes My Baby,” “Love Potion #9,” “Jailhouse Rock,” and “Spanish Harlem.” The all-new production heads to Stage 42 (422 West 42nd Street, NYC) following its Ogunquit run. 

“We are thrilled to be partnering with the original producing team to create this fantastic show,” stated Executive Artistic Director, Bradford Kenney. “It has been our honor to work with Jack Viertel who conceived Smokey Joe’s Cafe with Stephen Helper and the New York producers, Richard Frankel, Tom Viertel, Steven Baruch, and Marc Routh, who have made this collaboration possible. It has also been our honor to bring this incredible creative team to Ogunquit led by Director/Choreographer Josh Bergasse and Tony Award-winning designers Beowulf Borwitt and Jeff Croiter as well as Costume Designer Alejo Vietti and Sound Designer Peter Fitzgerald.” 

The original production of Smokey Joe’s Cafe: The Songs of Leiber and Stoller made history as Broadway’s longest running musical revue, earned a Grammy Award and multiple Tony Award nominations. The show celebrates the best songs of the legendary songwriting duo, Jerry Leiber and Mike Stoller and their generation-defining songs that climbed the Billboard charts and provided hit after hit for icons like Elvis Presley, Ben E. King, The Coasters, and The Drifters.

The cast of this all-new production features Broadway and Off-Broadway veterans including, Dwayne Cooper, who appeared on Broadway in Motown and Hairspray, and the National Tours of Smokey Joe’s Cafe, Showboat, and Seussical The Musical; Emma Degerstedt who was most recently seen in the lead role in the Off-Broadway musical, Desperate Measures; John Edwards, whose credits include the Broadway production and National Tour of Jersey Boys, In the Heights at The Kennedy Center and the National Tour of Hairspray; Dionne D. Figgins, who began her career as a member of Dance Theatre of Harlem, and has been seen on Broadway in Hot Feet, Memphis, Leap of Faith, and Motown. Also joining the cast are Nicole Vanessa Ortiz, who made her theatre debut as the leading lady in the Off-Broadway parody, Spamilton; Kyle Taylor Parker, who was most recently seen on NBC’s “Jesus Christ Superstar Live in Concert,” and the original Broadway productions of Kinky Boots and Charlie and the Chocolate Factory; Jelani Remy, who most recently starred as “Simba” in Broadway’s The Lion King; Max Sangerman, who starred in the first National tour of The Lightning Thief, as well as Blue Man Group Off-Broadway; and Alysha Umphress, who performed on Broadway in On the Town, American Idiot, and Priscilla: Queen of the Desert, among others.

Smokey Joe’s Cafe is directed and choreographed by Joshua Bergasse and features scenic design by Beowulf Boritt, costume design by Alejo Vietti, lighting design by Jeff Croiter, sound design by Peter Fitzgerald, original vocal arrangements by Chapman Roberts, and orchestrations by Steve Margoshes and Sonny Paladino. Music Supervision and new arrangements are also by Mr. Paladino. 

Box Office located at 142 Main Street, Ogunquit, 207-646-5511 or online at www.ogunquitplayhouse.org

“The Wiz” Opens At The Lyric Stage May 18

The Wiz

Book by William F. Brown

Music and Lyrics by Charlie Smalls

From the story “The Wonderful Wizard of Oz” by L. Frank Baum

At The Lyric Stage May 18 through June 24

May 18 – June 24, 2018

Directed by Dawn M. Simmons, with musical direction by Allyssa Jones and choreography by Jean Appolon this is a soulful retelling of L. Frank Baum’s beloved The Wonderful Wizard of Oz. The Wiz combines fairy-tale glamour with street smarts to make a classic fantasy sparkle for today.  The Lyric Stage directors and choreographer will bring a blast of New Orleans Creole magic to this production. Winner of seven Tony Awards, including Best Musical and Best Score, The Wiz ingeniously mixes rock, gospel, soul, and jazz, and features hits like “Ease on Down the Road,” “A Brand New Day,” and “Home.”

The cast for The Wiz:

Soneka Anderson, Elle Borders*, Brandon G. Green*, Steven Martin, Davron S. Monroe*, Yewande O. Odetoyinbo*, Juanita Pearl, Pier Lamia Porter, Carolyn Saxon*, Damon Singletary, Salome Smith, Lance-Patrick Strickland.

The Lyric Stage, Copley Square, Boston

Box Office:  617-585-5678

website:  lyricstage.com

Bat Masterson and Sam Taub

The Wild West Lawman 

And The Kid From The 

Lower East Side

by Bobby Franklin

If you are of a certain age you are probably familiar with Bat Masterson from the TV series in which Gene Barry played the dapper lawman. Barry’s version was of a well dressed gambler who subdued most of the villains by batting them over the head with his gold-knobbed cane.

Masterson was also the subject of a collection of Damon Runyon short stories published under the title of Guys and Dolls. The stories were turned into a Broadway musical and later a successful adaptation of the play into a hit movie. In the 1955 film version the character Sky Masterson was played by Marlon Brando.

The character of Bat Masterson was also used as the basis for a number of other movies and television series as well as books, short stories, and even comic books. He really became the stuff of legend, and with good reason.

Masterson was born William Barclay Masterson on November 26, 1853 in Quebec, Canada. As a young man he followed Horace Greeley’s advice and went West were he and his brothers worked on a section of track for the Atchison, Topeka, and Santa Fe Railroad. The subcontractor who hired them skipped out without paying the boys but Bat would later track the man down and see he paid his debt to them.

Wyatt Earp (Seated) and Bat Masterson

Masterson was also a buffalo hunter and Indian fighter. He was an involuntary participant in the Battle of the Adobe Walls, a five day siege in the Texas panhandle. From this experience Bat went on to to become a U.S. Army scout and was stationed at Fort Dodge.

He had also earned a reputation as a gambler and gunfighter, settling in Dodge City where he became the sheriff of Ford County, Kansas. He would eventually leave Dodge City and move to Tombstone, Arizona where he became friends with Wyatt Earp. The two would be participants in the “Dodge City War”.

Masterson was involved in many other exploits and it appears the man was even more interesting than the legend. He took a keen interest in prizefighting. He was present at the John L. Sullivan vs Jake Kilrain bareknuckle fight as well as the Sullivan/Corbett bout in New Orleans. Masterson had laid a bet down on Corbett in that contest. He would later work as a second for Charley Mitchell when Mitchell challenged Corbett for the title.

Bat Masterson In New York

After trying his hand at operating a couple of boxing clubs Bat moved to New York City where he became a columnist for the New York Morning Telegraph. He wrote about a number of different topics but his focus was mostly on boxing. He also worked as a timekeeper for many fights, most notably the Johnson/Willard fight in Havana, Cuba.

The last fight he attended was the Dempsey/Carpentier bout on July 2, 1921. On October 25, 1921 Bat Masterson died in his office after writing what would become his final column for the Telegraph. Here’s where Sam Taub comes into the story.

Young Sam Taub

Sam Taub was born on New York’s Lower East Side in 1886. With the advent of radio he would go on to become famous as the pioneer of blow by blow broadcasting from ringside. Later he would do the same on television calling the shots for the first televised boxing match, the 1941 bout between Lou Nova and Max Baer. For decades he wrote the column “Up And Down Old Broadway” for Ring Magazine. My friend author Paul Beston recalls a quote from that colorful column. Writing about the famous Long Count fight between Dempsey and Tunney, Taub wrote “As for Jack Dempsey, he accepted the outcome and never complained. HE knew who was to blame for the Long Count. That’s how it was long, long ago.”

Taub was among the best known boxing journalists of the 20th Century. He got his start at the New York Morning Telegraph working as an office boy for, you guessed it, Bat Masterson. The day Masterson died young Sam Taub heard him call out. When he came into Bat’s office the legendary lawman was having a fatal heart attack. Sam grabbed ahold of him as he took his last breath. In his later years Taub would sometimes introduce himself with the words “I’m the guy in whose arms Bat Masterson Died.”

Sam Taub

Both of these men were colorful characters, the kind that will never be seen again. The kind that were drawn to boxing when it was  truly an interesting sport filled with unusual people. What other sport would bring together a poor Jewish kid from New York’s Lower East Side and a gunfighter from the Wild West? 

Tommy Collins vs Jimmy Carter

The Boston Massacre

By Bobby Franklin

It was April 24, 1953 when Tommy Collins stepped into the ring at the Boston Garden to challenge Lightweight Champion Jimmy Carter for the title. Collins had become a favorite of fans who were taken with his exciting style and hard punching. At the time of the Carter fight Collins had scored knock outs in 40 of his 58 victories. He had also lost 9 bouts with 7 of those losses coming via stoppage. His biggest win was a kayo of former Featherweight Champion Wille Pep, though many questioned whether that fight was on the level.

Carter Drops Collins

Collins was coming off of a 6 fight winning streak going into the fight while  Jimmy Carter had dropped his last 2 contests, both non title fights.  Carter’s record  stood at 87 fights, 64 wins (20 by stoppage),15 losses (1 by stoppage), and 8 draws. While Collins, on paper, appeared to be the superior puncher, Carter had fought and beaten much stiffer competition. The champion was also an extremely skillful boxer who threw his punches with great accuracy, something Collins would experience first hand. The odds were set at 2 to 1 in the champions  favor, but it was not long after the opening bell that 100 to 1 would have made more sense. The referee for the bout was Tommy Rawson, a former amateur boxing star who was reported to have had 220 simon-pure fights before turning pro. 

The fight was a huge event in Boston, drawing approximately 12,000 fans and setting a record gate for the time with gross receipts adding up to $152,155.00. It was also broadcast live on national television. 

As the fighters entered the ring a Marine Corps color guard stood at attention for the playing of the National Anthem. The Garden crowd was filled with excitement at the anticipation of their local hero winning the title. That excitement would dissipate quickly and turn to concern the local boy would be seriously injured or even killed.

As the fight began it didn’t take long to see it was a serious mismatch. Carter immediately showed he was the superior fighter taking control of the bout before the sound of the opening bell had faded. He boxed rings around Collins for the first two rounds. As bad as this was, it would turn much worse for Collins.

There is little doubt the bout should have been stopped after the third time Tommy hit the canvas.

At the bell for the third round Carter came out and landed a solid left hook to the chin of Collins. Seconds later he landed with a tremendous right hand that dropped Collins flat on his back. Tommy appeared to be out before he hit the canvas, but by some miracle, or perhaps curse, he made it  back to his feet at the count of nine. Referee Tommy Rawson very quickly wiped off Collins’ gloves and immediately sent him back into action. Carter dropped Collins again with a left/right combination. Again, Collins looked to be out but got back to his feet at the count of eight. And again, referee Rawson didn’t take any time to examine Collins and had him resume fighting. Carter would go on to deck Collins for a total of seven times in that third round. Collins was attempting to fight back but what little resistance he showed was displayed with wild swings. Six of the seven knockdowns were brutal. It can be argued the fight should have been stopped after the first one. There is little doubt the bout should have been stopped after the third time Tommy hit the canvas.

At the end of the third round, Collins with his left eye swollen shut couldn’t find his corner and had to be helped there by his seconds. Referee Rawson did not examine Collins between rounds. His seconds never should of allowed him to come out for the fourth round, but they did. Carter dropped Collins again shortly after the start of the round and again Referee Rawson allowed the bout to continue. Collins went down again, and as Rawson was counting over him his handlers jumped into the ring and called a halt to the fight. If Collins had managed to regain his feet it is apparent Rawson would have let the carnage continue. I woudn’t have been surprised if Rawson picked Collins up off the canvas and pushed him back towards Carter. 

Shortly after the fight, switchboards at TV stations across the country lit up with calls from the public who had witnessed this disgraceful officiating by the referee. The callers were expressing outrage at the brutality they witnessed and the fact it was allowed to go on for so long. 

“I asked Rawson, what do you want to do, get him killed?”

After the third round, Carters’ trainer Willie Ketchum pleaded with Rawson to stop the fight. He said “I asked Rawson, what do you want to do, get him killed?” Rawson replied “I know what I’m doing.” Fans at ringside were yelling for the fight to be stopped. The Boston Globe reported  a priest in attendance had started praying for Collins’ life. Even by the standards of 1953 when fights were allowed to go on longer before being stopped, this was a travesty. Rawson never hesitated to send Collins right back into the fray, and never even gave him a close look after the knockdowns. It was a sickening exhibition of officiating. It was also a disgrace the ringside doctor didn’t intervene or for that matter did anyone from the Boxing Commission. 

After the bout, commissioners from around the country weighed in with criticism of how Rawson handled the fight. George Barton President of the National Boxing Association said “It was the worst exhibition of boxing officiating I have seen in fifty years. I can’t understand why the referee allowed Collins to take such a beating. The fight was so hopelessly one sided that I think it should have been stopped after Collins had been knocked down for the third time in the third round.” Harold Kaese wrote in the Boston Globe “It was pitiful to see…where does the contest leave off and humanity step in?” Former Welterweight Champion Barney Ross was quoted as saying “I have never seen such a brutal affair in a ring in all my life.”

Referee Tommy Rawson stood by his actions in the ring that night stating that “Since it was a championship fight, I regarded it as my duty to see it ended in a decisive fashion.” If it had ended any more decisively poor Tommy Collins would have been dead.

This bout and Rawson’s actions during it were a stain on boxing. it did lead to some changes being made to the rules. These changes included implementation of the three knock down rule and the mandatory eight count. Amazingly, Rawson was not officially censured for his bizarre and disgraceful behavior. In fact, he was allowed to continue working as a referee which he did for many years. 

Boxing by its very nature is a dangerous sport where the possibility of severe injury and death are always present. That’s why it is so important for officials to do their utmost to watch out for the welfare of the participants. Watching the Collins/Carter fight and the disgraceful manner in which Tommy Rawson behaved is a text book example of what not to do.

It appears Tommy Collins was lucky a priest was at ringside praying for him. God heard his plea. 
https://youtu.be/LqFqSDHTwtM

Ishaq and Zeblyan: Stubborn, Vindictive,  Miserable, And Very Funny

Two Jews Walk Into A War…

By Seth Rozn

Directed by Will LeBow

At The New Rep, Watertown, MA

Through May 20

As Seth Rozin’s Two Jews Walk Into A War…begins we see Ishaq (Joel Colodner) and Zeblyan (Jeremiah Kissel) standing over the coffin of Yakob. The three had been the only Jews still living in Kabul,Afghanistan, now with Yakob gone it is down to the two of them. You would think they would feel a common bond that would unite them in their struggle to survive and keep Judaism alive in their part of the world. It turns out Ishaq and Zeblyan hate each other. Yakob had been the peacemaker, and now with him gone the gloves have come off.

Ishaq (Joel Colodner) and Zeblyan (Jeremiah Kissel)
(Photo: Andrew Brilliant / Brilliant Pictures)

The bickering begins and insults are exchanged with each trying outdo each other with how much they have suffered, how much their families have suffered, how much each other’s family is to blame for their circumstances, and just about anything else that happens to cross their minds. The exchanges are funny and fast paced. Kissel and Colodner combine great comedic timing with subtle, and not so subtle, facial expressions and hand gestures. 

The two do finally begin to settle on a common goal; Keeping Judiaism alive in Kabul. They first decide that repopulating the city with Jews should be the goal, but war torn Afghanistan is not quite on most people’s lists of places to relocate to. Ishaq then comes up with the  idea of converting a Muslim woman to Judaism and fathering a child by her. This poses a number of problems including the fact that there can be no conversion rite without a Torah, and the Torah from their synagogue had been stolen by the Taliban. The two now set out to produce a new one.

Ishaq and Zeblyan
(Photo: Andrewn Brilliant / Brilliant Pictures)

Ishaq has memorized the words from the Five Books of Moses and will dictate them to Zeblyan who will act as scribe. In fact, Ishaq has not only memorized the words but also the punctuation leading Zeblyan to say to him “You’re a Torah Geek!” The two continue to argue, even coming to blows at one point, but make progress over time in working together to accomplish their goal. 

 Some of the funniest lines come when Zeblyan questions the word of God. For instance, he wants to know why it is forbidden for a man to a lie down with another man but their is no such pronouncement about a woman lying with another woman: “Could Shem have a little girl/girl thing going on here?”  While funny, it does show how when looking into one’s faith questions and doubts do arise. 

The play also relates much about human nature. While both men are petty and vindictive, they both struggle for a common and larger goal, never giving up on their faith. Their spite and stubbornness actually fuel their resolve and give them the strength to carry on. It is where they find their resilience. 

The play is described by director Wlll LeBow as a “vaudeville” but I also see touches of Godot. In spite of their suffering and anger towards each other, Zeblyan and Ishaq never come close to giving up. 

Ishaq and Zeblyan
(Photo: Andrewn Brilliant / Brilliant Pictures)

Jeremiah Kissel and Joel Colodner don’t slow down for a minute in this fast moving piece that makes for a wonderful theatre experience. Two musicians off to the side of the stage playing on drums and an oud along with an excellent and perfectly lit set that recreates the interior of the only remaining synagogue in Kabul, is just the right atmosphere to enhance this fine performance. 

I very much enjoyed my evening with Zeblyan and Ishaq. The New Rep has closed out their latest season on a high note. 

Two Jews Walk Into A War…

By Seth Rozin

Directed by Will LeBow

Through May 20

The New Rep Theatre

Mosesian Center For The Arts

321 Arsenal Street, Watertown, MA 

617.923.8487

newrep.org

A Few Pearls of Wisdom from My Interview with the Great Archie Moore

A Few Pearls of Wisdom from My Interview with the Great Archie Moore

By 

Mike Silver

On February 26, 1983 I had the great good fortune to meet and interview the legendary Archie Moore. The former light heavyweight champion (1952-1962) had amassed one of the greatest records in boxing history. After a long and arduous 17 year campaign Archie finally won the championship in his 177th professional fight. He fought from 1935 to 1963 and retired with an outstanding 186-23-10 won-lost-draw record (including one no contest). It is safe to say his extraordinary number of knockout victories—131—will never be eclipsed.  

Archie was in New York City to present an award to one of his former opponents, Charley Burley. Burley was just one of at least a score of genuinely great boxers that Moore fought during his illustrious career. Many of the names in that record read like an entire HOF roster: Cassius Clay (Moore made it a point to say that he never fought Muhammad Ali since the future heavyweight champion had not yet changed his name at the time they fought), Rocky Marciano, Ezzard Charles, Charley Burley, Jimmy Bivins, Holman Williams, Bert Lytell, Lloyd Marshall, Harold Johnson, Eddie Booker and Teddy Yarosz, to name a few. If Archie Moore were fighting today he would be heavyweight champion after already having won both the middleweight and light heavyweight titles. 

Although his formal education ended in high school, Archie never stopped learning. He was a worldly individual and full of the wisdom of life experiences. He possessed an analytical mind and was intensely curious about a wide range of topics. Mostly self-educated Archie was, without question, one of the most remarkable, charismatic and accomplished characters I have ever met—in or out of boxing.  

Archie was an artist in the truest sense of the word.

As author Joyce Carol Oates has so accurately stated—“The brilliant boxer is an artist, albeit in an art not readily comprehensible, or palatable, to most observers”.  Archie was an artist in the truest sense of the word. In 1955 the near 40 year old Moore challenged Rocky Marciano for the heavyweight championship of the world. Although knocked out in the 9th round Moore put up a rousing fight, even dropping Rocky hard in the 2nd round for a short count. This is how the New York Times reported it the following day: “Moore…gave an exhibition of boxing skill that, even in defeat, was almost as thrilling and moving as the display of awesome power that eventually brought the victory to Rocky.” When this sport was still worth our time and attention Archie Moore’s name stood out like a brilliant shining star. 

Here is the interview:

MS: Archie, you are in New York to honor one of your former opponents, the great Charley Burley. So I think it’s appropriate to begin with him. You lost a unanimous 10 round decision to Burley and were knocked down four times. What happened?

AM: Charley Burley had a very deceptive style of fighting. He just tricked me. He tricked me because we both boxed similar but whereas mine was an apparent forward movement Burley’s was a continuous serpentine movement. He was like a threshing machine going back and forth. His body would sometimes lean over towards you and he’d pull it back just in time. Hitting him solid was almost impossible. But what made him so dangerous was that he could punch from any angle. He was never off balance although he appeared to be off balance on many occasions. 

MS: You had one of the longest careers of any boxer who ever lived. You fought in five separate decades—the 1930s to the 1960s. What was the secret of your boxing longevity?

AM: Well, I knew how to fight. I was also a master of pace. It was very important to know how to force pace and set a pace. As a result very few people could make me fight out of my system of fighting. Eddie Booker, Lloyd Marshall and Charley Burley made me fight out of my system. In my winding up years Marciano was one, as was Durelle. I had to fight out of my system to get back into that fight. Another boxer I had trouble with was Jimmy Bivins. Jimmy knocked me out the first time we met because he had such a deceptive reach. Although he was no taller than I was (5’ 11”)his arms touched below his knees. When he pulled his arms up they looked no longer than mine, but when he reached them out he hit me with the hook. 

MS: Well, you obviously learned from your mistake because you defeated Bivins four times after that. Looking over your amazing record I noticed that the great Ezzard Charles defeated you three times during your prime fighting years. Did Ezzard make you fight out of your system of fighting?

AM: No…no. He just outfought me. Ezzard was always in superb condition. He was a nice standup fighter and an expert boxer. Whereas he was not a terrific puncher, but he was a good puncher with both hands.

MS: Archie, you are acknowledged to be one of boxing’s all-time knockout artists. Are great punchers born or can a boxer increase power by perfecting such things as balance, leverage, and timing?

AM: Those ingredients you just mentioned are conclusive; all are an admixture as such as you just described, especially timing. 

MS: Who were some of the great punchers Archie Moore fought?

AM: Charley Burley was a terrific puncher, although to look at him you would not know it. His build fooled everybody. Burley’s legs were skinny, he was not extra wide of shoulder, he was small in weight and his height was the same as mine. But that man could get more leverage into a punch than anyone I ever fought. Another great puncher was Curtis “Hatchetman” Sheppard who once missed a punch to the jaw and broke a man’s collar bone. Lloyd Marshall was the snappiest hitter of them all. He could knock you out with either hand. Ron Richards was a tough hitter. Marciano was a very hard puncher—a bludgeoning type of hitter—super conditioned by Charlie Goldman. He was 100% aggression. There were others but I’d have to look at the record because I forget. 

MS: Archie I think it’s fair to say that since you were still fighting at an age when most other boxers were long retired you had to utilize every advantage, mental, physical and psychological, in order to maintain your edge over much younger opponents. Can you give an example?

AM: In 1955 I fought Nino Valdez in Las Vegas, Nevada. At the time Nino was the top ranked heavyweight. He was 6’ 4’ tall and weighed about 215 pounds. It was a 15 round bout and the winner was promised a bout with Marciano for the heavyweight title. The fight was staged at an outdoor arena in the late afternoon. As the sun began to settle on the west side of the ring I was sitting in my corner facing the sun and noticed that Nino was sitting with his back to the sun. The bell rings and I move to maneuver and before any activity starts I’ve already got my head under his chin and I’m muscling this big guy around. I face him into the sun and I keep turning him to the sun. He’s trying to get back around and I keep cutting him off. I’m always maneuvering him back to face the sun which was very bright. And all the while I keep spearing him with the left hand and keep twisting and twisting and turning him and try as he could, he could never make me turn into the sun. The sun was of course bothering him and I kept thumping him with the left jab. Hard stiff stiff jabs.  Pretty soon his eyes began to lump up. One eye closed up completely and the other was closing fast. By this time the sun was going down and the fight was coming to a close. I won 14 out of 15 rounds. 

MS: What does Archie Moore think of today’s boxers?

AM: “I think modern day fighters do not get proper basic training.  Boxing is based on disciplined training and disciplined repetition. Do you know the best friend a fighter has when coming up? (Archie pointed to a large floor length mirror). A very important part of training is practicing your moves in front of the mirror. But most fighters never come in contact with the mirror until they start to jump rope. Since they skip rope in front of a mirror why don’t they shadow box in front of a mirror? You can do that at home. You go through the motions. You learn how to duck. I can see where I’m going to hit my opponent. Am I at the right distance from him? I can hit him over the heart. I can hit him in his liver. I can step aside and hit him in the kidney. Go over the top, whatever. 

MS: After your victories over Joey Maxim for the title you defended it against Harold Johnson. This was your fifth meeting with Johnson, who you already had outpointed three times. In this fight you were behind on points when you knocked Harold out in the 14th round. 

AM: Harold Johnson was a great fighter. A picture book boxer. I was just his nemesis the same way that Ezzard Charles was my nemesis. Joey Maxim was a difficult boxer to fight because he knew so much about defense. Joe was 99% defense. And Joe was very durable and tough. 

MS:  What are the ingredients that go into making a successful prizefighter and what advice would you offer to a young boxer asking for guidance and direction?

AM: The first ingredient is discipline. Discipline and desire. It is said that desire is the candle of intent and motivation is the match that lights it, and that candle must be kept burning.  Once you make up your mind to go all the way to the top in boxing, first of all, go and get the best qualified instructor to teach you of the things you need to know. It should be someone you like, someone that you can deal with and someone you can listen to and obey. It should also be someone that you have trust in. Otherwise, somewhere down the line you’re going to have a breakup, a mix-up, or an argument and you lose a friend. Because the person who is your instructor, your trainer, your teacher, he’s closer to you than your father. 

MS: Trying to find a qualified trainer nowadays is easier said than done. The number of expert boxing instructors, as compared to years ago, has diminished. What can be done about that?

AM: As far as the area of improving the skills of boxers is concerned, I have developed a whole new system of teaching the basic boxing techniques. It is a new and revolutionary technique. I taught it to George Foreman and we went down to Jamaica and won the title with it. I thought George had untapped reservoirs of strength and it was up to me to channel it. 

MS: Can you describe your revolutionary system and how it works?

AM: I could readily describe it but I prefer not to at this time.

MS: OK. Let’s change the subject. Who in your opinion was the greatest pound for pound boxer you have ever seen. 

(Author’s note: Archie did not answer immediately, taking about ten seconds to consider his answer)

AM: Henry Armstrong. Here is a man who won the featherweight, lightweight and welterweight titles all in the same year, and the men he beat to win those titles were great fighters in their own right. 

MS: What about Sugar Ray Robinson?

AM: When Ray was active there was nobody any smoother. Watching Ray fight was like drinking a nice…soft…drink. I enjoyed watching Ray Robinson fight because I appreciate beauty in athletics. I enjoyed watching Oscar Robertson move on the basketball court, Jim Brown on a football field, Andretti in an automobile, Willie the Shoe ride the horses. Everybody had their way of doing things with skill. These are skilled men and there’s nothing I like better than skill. When a guy does something, and does it well, I admire that. There’s never been anybody more graceful, skillful with a rope than Ray and I’ve seen some awfully good rope skippers. I would rather see Ray Robinson punch a speed bag than watch the average guy go out and fight a six round fight. Ray was a skillful man, he was a game man. In his time there was nobody more beautiful than he was, although there were one or two guys that might have beaten Ray in their time. I would like for someone to say, personally, that I think Charley Burley could have beaten Ray in Ray’s best time. But people hate to go out on a limb. 

MS: Is there anything about your boxing life you would have changed or done differently?

AM: I’d have like to have made some money and have more financial gain out of boxing. You see a  boxer’s wish is to be independent. This is a profession. I like to be without obligations to other people but I was obligated. But I was mindful of whom I borrowed money from and I was careful not to get mixed up with people who would be embarrassing to you at a time when they wanted to collect.

MS: Thank you for your time Archie. 

(Mike Silver is the author of Stars in the Ring: Jewish Champions in the Golden Age of Boxing and The Arc of Boxing: The Rise and Decline of the Sweet Science. Both books are available on Amazon.com)


https://youtu.be/c7qFsEmK1gE

This Elvis Impersonator Won’t Drag You Down

 

“The Legend Of Georgia McBride”

By Matthew Lopez

Directed by Russell Garrett

Greater Boston Stage, Stoneham, MA

Through May 20

Reviewed by Bobby Franklin

In The Legend of Georgia McBride, Casey (Jared Reinfeldt) is an Elvis impersonator whose career is hardly on the road to Vegas. Working at Cleo’s Bar on the Beach in Panama City, Florida before sparse audiences he is finding it difficult to pay the rent for the apartment he shares with his pregnant wife Jo (Jade Guerra). The landlord, Jason (Alex Pollock),  has come knocking and they are on the verge of eviction.

Alex Pollack, Jade Guerra, Rick Park, Jared Reinfeldt,and Ed Peed

Eddie (Ed Peed), the owner of Cleo’s is also having trouble making ends meet and has made the decision to try out a new act comprised of two female impersonators comprised of Miss Tracy Mills (Rick Park) and Rexy (also Alex Pollock). This leaves Casey demoted to working as a bartender, his dreams of Elvis gold dashed.

Ah, but in true A Star Is Born fashion, one night Rexy shows up too drunk to perform, and with a full house waiting to be entertained, Casey is talked into taking her place. This he does reluctantly as Tracy transforms him into drag. He overcomes his awkwardness by looking at it as playing it as if he were taking on any role he might appear in in theatre.

This may all sound rather simplistic, but what unfolds is a very charming and enjoyable play with some underlying, though not terribly deep messages. With the exception of one song, all of the music is lip-synced. The scene where Casey is first dressed to perform in drag is interesting to witness. It is quite the transformation. His first number is to be Edith Piaf’s Padam, Padam. Of course, he does not know the lyrics so Tracy gives him a pointer about mouthing a certain expletive in order to fake it. There is also some fun with choosing a stage name for Casey. A couple of the many suggestions include Tequila Mockingbird and Sharia Law, before settling on Georgia McBride. The formula used for this is something you might want to try for the fun of it.

Things work out as you may expect. Casey goes on to become a big hit. Rexy returns angry at what has happened. Her speech about the struggles she and so many other gay men have dealt with over the years is filled with anger and rebellion while also quite moving without turning into a lecture. The words make an important point while not diminishing the fun taking place on the stage in Stoneham.

Ed Peed comes close to stealing the show with his excellent portrayal of the crusty bar owner Eddie who goes from awkward M.C. to being quite the ham. While not taking the drag route, we do see his transformation as well.

Jade Guerra and Jared Reinfeldt

Jade Guerra has wonderful presence playing Casey’s wife who has been kept in the dark about his new career path. It is quite the emotional roller coaster and she conveys those feelings well. Jade is also quite impressive in one of the musical numbers.

Alex Pollack’s Rexy is edgy and intense. The first instinct is to not like her, but she earns respect and understanding in the course of the play. Pollack is also wonderful as Jason, Casey’s landlord. He provides quite a few laughs.

There are many musical numbers that kept the audience in attendance the afternoon I was there more than happy. Rick Park’s Tracy as Carmen Miranda was quite the spectacle, bananas and all. The duet with two Nancy Sinatras and their boots a walking featuring Georgia and Miss Tracy was another treat. 

It is unclear at the end whether or not Casey continues to see performing in drag as just a role he is playing or has found some deeper meaning from listening to Rexy, but it does make good food for thought.

The Legend of Georgia McBride is an enjoyable and mostly lighthearted work. I think you will find it worth the trip to Stoneham.

One reminder. While not gratuitous, there is some pretty salty language and adult themes that may not be suitable for younger ears.

greaterbostonstage.org 781.279.2200

A Family’s Struggle With Its Government And With Itself

 

Allegiance

By Marc Acito, Jay Kuo, & Lorenzo Thione

Directed by Paul Daigneault

SpeakEasy Stage Company, Calderwood Pavillon

Boston

Reviewed by Bobby Franklin

The production of Allegiance currently running at the Speakeasy Stage Company in Boston shows everything they do best. In the capable hands of director Paul Daigneault, with choreography by Ilyse Robbins, and their truly amazing design team, the SpeakEasy has breathed new life into this work that has met with mixed reviews in the past. One of the critiques is still valid and I will speak to that later, but this is really a remarkable production.

The story is loosely based on actor George Takei’s experiences from when he and his family were sent to an internment camp for American citizens of Japanese background. It was a shameful episode in the history of our country. The play deals with that and also with the conflict it caused within the families sent to these camps over how to deal with the situation.

“Gotta Get In The Game”
Photo: Nile Scott Studios

The story revolves around the Kimura family and how they dealt with the requirement to sign a loyalty questionnaire, specifically questions #27 and #28. Question #27 asked if the men would be willing to fight with the armed forces of the United States, while question #28 asked about their loyalties to the Emperor of Japan and if they would swear loyalty to the United States. Some agreed, believing this would help allay suspicions many had about Japanese Americans’ support of the United States, while others saw this as a violation of their rights, after all, they were American citizens and no other American citizens were being asked to fill out such questionnaires. 

Grace Yoo and Sam Tanabe
Photo: Nile Scott Studios

Sammy Kimura (Sam Tanabe) and his sister Kei (Grace Yoo) are at odds on this with Sammy willing to answer and also anxious to join the army and fight for his country, while Kei sees it as a violation of their rights. Their father Tatsuo refuses to answer and is taken away in handcuffs to another camp. It is all heartbreaking.

The song Gaman, Japanese for “endure with patience and dignity” leaves the question open as to how you retain your dignity under such circumstances. It is a beautiful and moving song delivered with “dignity” by Grace Yoo whose voice is lovely.

Michael Hisamoto plays Mike Masaoka who represents the Japanese American Citizens League (JACL) that was highly criticized for not taking a stand against the interment. His go along to get along attitude certainly does not endear that organization with the audience. 

Cast of Allegiance
Photo: Nile Scott Studios

Frankie Suzuki (Tyler Simahk) who becomes a leader in the resistance movement begins seeing Kei romantically. He and Sammy are at odds as seen through the song “Resist”. Sammy sees Frankie as being disloyal for not being willing to sign up with the armed forces to fight while Frankie believes in the principle of not giving any ground in defending his rights as an American citizen. This all gives a micro treatment to the larger issues and is quite effective.

With a beautiful set and lighting that conveys much atmosphere and including Japanese lanterns hung around the theatre that dim and are blown around to great effect, this play touches many emotions. There was hardly a dry eye in the house at the end. 

I have heard criticisms of the score, but I found it beautiful and the choreography amazing. Get In The Game is a unique piece with a baseball theme that is a joy to watch. What Makes A Man sung by Sammy poses questions that are not easy to answer, especially when faced with this situation. It may seem odd when seeing a work that deals with such a dark subject, but there is much that is uplifting in this story as well. 

My one quibble with Allegiance is with the many historical inaccuracies in the script. I fully understand the artistic license that is used and can understand the reasons for it, but the actual story is bleak as it is, and I fear straying too far from the truth gives those who would want to diminish what really happened ammunition to say it all as been exaggerated. That simply isn’t true. It was a terrible thing and we should see that it never happens again.

As I said at the beginning, this is the SpeakEasy at its best. Simply outstanding. 

speakeasystage.com  Box Office: 617.933.8600

The Ogunquit Playhouse Announces Schedule For Backstage Tours

 

Walk In The Footsteps Of Legends

By Bobby Franklin

If you have enjoyed sitting in the audience at the Ogunquit Playhouse marveling at all the happens on stage, don’t miss out on the chance tossup behind the scenes. The Playhouse has announced this seasons schedule for backstage tours.

I have taken the tour and it is something you will not forget. Walking in the footsteps of such legends as Bette Davis, Douglas Fairbanks Jr., Walter Matthau, and Steve McQueen I could feel the presence of these and so many other greats who have performed on the stage in Ogunquit over the past 86 years. 

The guided tour will give you a chance to learn the history of the Ogunquit Playhouse which includes how it survived through the Great Depression and went on to become America’s foremost summer theatre. You will be up close to where it all happens from wig design to sets and costumes, and get to visit the dressing rooms where the stars prepare before stepping onto the stage. You’ll be surprised by some of the things you’ll see.

The tours are scheduled for the following dates: Fridays, June 22, August 3, 24, 31, and September 14, 21, and 28; Sundays, June 3, July 15, August 26, and September 16 and 30; and Mondays, June 4 and 18, and July 30. A 90 minute tour is $10.00. The abbreviated 60 minute tour is $5.00 Contact the Box Office at 207.646.5511 for more information.

I highly recommend doing this. It is a chance to step into theatre history.

(Photo Credit: Neil McMahon)

Pleasure Island Walking Tour Sunday May 20th

Author Robert McLaughlin Keeps The Memories Alive With His Book And Tours 

By Bobby Franklin

If you drive down Rt. 128 through Wakefield you will still see an exit marked Pleasure Island Road. It is one of the last vestiges of a place that in fondly remembered by many of a certain age. 

Pleasure Island was a family recreation center inspired by Disneyland and Storytown. It was a huge undertaking encompassing a total of 168 acres of dryland and meadowland. The park was conceived by a man named William Hawkes and the story of how it all came to be is the subject of the book Pleasure Island: 1959-1969 (Images of Modern America) by Robert McLaughlin. It is quite the story and Mr. McLaughlin’s passion for preserving the history of the ten years the park survived is evident on every page of his book which is also filed with wonderful archival photographs and excerpts of interviews with Mr. Hawkes as well as many of those who worked at Pleasure Island.

Pleasure Island wasn’t an amusement park with thrill rides. Rather, it was a theme park with many themes including Western City, Pirate Cove, Monkey Island, and Old Smokey Locomotive Ride among many other things. It also had a whale boat ride where visitors would get to see Moby Dick rise from the depths and see water gush from his blow hole. 

In an area of the park was the Show Bowl where many famous entertainers of the day appeared. Among them were Ricky Nelson, Hugh O’Brien, Jimmy Dean, Neil Sedaka, Chuck Connors, The Three Stooges, Fess Parker, and Johnny Crawford. In 1960 the Boston Jazz Festival was held there with appearances by Nina Simone, Dinah Washington, and Duke Ellington. As you can see, there was no lack of first rate talent.

While walking through the park you might confront a pirate who would be quite to draw his sword and pose for a photo, or you might happen upon a shootout between cowboys. 

Mr. McLaughlin’s book brings back memories for those of us who were fortunate enough to have been there and it will be of interest to those who have never experienced such a hands on adventure. The story and interviews are extremely interesting and the photographs are pure gold.

Eventually, Pleasure Island closed, the victim of many forces including unpredictable weather, the struggle to find backers, and the changing times. It is now an office park with only a few traces of that once magical place still to be found. On Sunday, May 20th from 10:00 am to noon, rain or shine, Mr. McLaughlin will conduct a walking tour of the site and will discuss the history of Pleasure Island while pointing out the places where it all happened. Many former employees of Pleasure Island show up for these walks and also share their memories. I took this tour last year and I can tell you it is a terrific experience. 

The location is Audubon Road in Wakefield (Rt.128-Exit42). The tour meets in the first parking lot the left after entering Edgewater Office Park. There is no charge. Mr. McLuaghlin will have copies of his book as wells two others he has written for the Images of Modern America series, Magic Mountain and Freedom Land: 1960-1964.

If you have any photographs or memorabilia from a visit to Pleasure Island be sure to share them with Robert. 

For more information go to friendsofpleasureisland.org  

The Huntington Theatre Presents the World Premiere of “Fall” 

The True Story of Arthur Miller’s Secret Son

May 18-June 16, 2018 at Huntington’s South End/Calderwood Pavilion at the BCA

 

The Huntington Theatre Company presents the World Premiere of Fall, which tells the true story of Pulitzer Prize-winning playwright Arthur Miller’s secret son Daniel, his child with third wife, Inge Morath. Born with Down syndrome, Daniel was institutionalized, and his existence was never acknowledged by his parents. Written by playwright and renowned journalist Bernard Weinraub (The Accomplices, Above the Fold), and directed by Huntington Artistic Director Peter DuBois, Fall runs May 18 – June 16, 2018 at the Huntington’s Stanford Calderwood Pavilion at the Boston Center for the Arts.

The cast includes Josh Stamberg (Showtime’s “The Affair,” NBC’s “Parenthood,” and The Power of Duff and Female of the Species at Geffen Playhouse) as Arthur Miller. Joanne Kelly (The House of Yes at the Storefront Theatre, Proof at Red One Theatre Collective) plays Inge Morath, a photographer and Miller’s third wife. Joanna Glushak (Sullivan and Gilbert and The American Clock at the Huntington, War Paint on Broadway) plays Dr. Wise. Nolan James Tierce (Harvey at Newton Country Players), a local actor with Down syndrome, plays Daniel. John Hickok (Parade, Little Women, and Aida on Broadway) plays Broadway producer Robert Whitehead.

Arthur Miller was perhaps the most celebrated American playwright of the 20th century, with masterful plays, Death of a Salesman, All My Sons, A View from the Bridge, and The Crucible, capturing the darker side of the American Dream, the political zeitgeist of the day and, somewhat ironically, the bonds of the American family — particularly fathers and sons. His life and career was threaded through the culture of the country in the mid-20th century: he divorced his first wife to marry Marilyn Monroe; he was subpoenaed by the House Un-American Activities Committee; he won the Pulitzer Prize and numerous Tony Awards; and he spoke out against the Vietnam War. Miller was seen by many as a moral conscience for the nation.

But despite chronicling the “common man” and the American Family, Miller did not acknowledge his own son. Daniel was not mentioned in Miller’s autobiography, Timebends, or in either of his parents’ obituaries in The New York Times. Playwright and former Times reporter, Bernard Weinraub became engrossed with the Millers’ story after reading a Vanity Fair article about them in 2007. He took a journalist’s approach to translating the story for the stage, interviewing social workers and others who knew and worked with the family. Fall explores the fascinating dichotomy of Miller’s life with Morath (the couple also had a daughter, Rebecca) and the divide between their public personae and their private lives.

“Arthur Miller was one of our greatest playwrights. His best dramas dealt with fathers and sons, guilt and betrayal, and essentially, our responsibility towards each other,” says Weinraub. “He dealt with the paradoxes and tensions of our lives. What interested me here was the contradiction between the man and the artist. And the impact of his actions on his art.”

“Miller wrote many plays about the sins of a father being visited on a son, and as a writer he provided a moral compass for a generation,” says DuBois. “Bernie’s exploration of this iconic man is a story that remained with me since the first time I read the script a few years ago. I’m proud Boston audiences will be the first to see this show and discover more about a playwright they thought they knew.”

 

 huntingtontheatre.org       Box Office: 617.266.0800

Reagle Music Theatre of Greater Boston Opens 50th Anniversary Season With: A Chorus Line

Directed by Broadway’s Leslie Woodies

Starring Boston’s own Scott Wahle as “Zach” and Kirsten McKinney as “Cassie”

Reagle Music Theatre kicks off the company’s spectacular 50th Anniversary Summer Season with A Chorus Line from June 7-17.  The multiple Tony Award-winning musical will run for 8 performances at the Robinson Theatre, 617 Lexington St., Waltham, MA.  A Chorus Line is the ultimate Broadway story, following the hopes and dreams of young performers as they bare their souls auditioning for a Broadway musical.  A Chorus Line will feature a roster of regional talent featuring newsman and IRNE award winning actor of stage and screen, Scott Wahle as “Zach”, and IRNE award and Tommy Tune Award winner Kirsten McKinney as “Cassie”. 

The production is backed by a full, live orchestra and includes the original Broadway costumes!  Produced by Robert J. Eagle; Directed and Choreographed by Leslie Woodies (A Chorus Line, On Your Toes); Music Direction by Dan Rodriguez (In the Heights, Show Boat).

A Chorus Line is a stunning celebration of the unsung heroes of the American Musical Theater – the dancers and singers of the Broadway chorus.  A Chorus Line takes the audience through the final grueling audition for a new Broadway musical while exploring the inner lives and poignant ambitions of the Broadway hopefuls competing for a spot on the stage. The show features one powerhouse number after another including “What I Did for Love,” “One,” “I Can Do That,” “At the Ballet,” “The Music and the Mirror,” and “I Hope I Get It.”  A fusion of song, dance, and drama, A Chorus Line was instantly recognized as a classic winning nine Tony Awards in addition to the 1976 Pulitzer Prize for Drama. The original Broadway production ran for 6,137 performances.

Reagle Music Theatre’s 50th Anniversary production of A Chorus Line features a full cast of 27 performers from Boston, New York and across the country, starring Boston’s own Scott Wahle as Zach and Kirsten McKinney as Cassie Ferguson.

Performance Schedule:  Thurs, June 7th at 3:00 PM; Fri, June 8th at 7:30 PM; Sat, June 9th at 7:30 PM; Sun, June 10th at 2:00 PM; Thurs, June 14th at 3:00 PM; Fri, June 15th at 7:30; Sat, June 16th at 7:30; Sun, June 17th at 2:00 PM.

To purchase, visit www.reaglemusictheatre.org, call 781-891-5600, or visit the theater box office at 617 Lexington St, Waltham, MA, 02452. Hours of operation are Monday through Friday from 9 a.m. to 4:30 p.m., Saturdays 10:00 a.m.-2:00 p.m., with extended hours from 9:00 am to curtain on performance days.

Mickey Walker

The Toy Bulldog Took

On Heavyweights

Fought Greb In And Out Of The Ring

By Bobby Franklin

When trying to rank the greatest fighters of all time there are many different criteria used. Included in these are boxing ability, punching power, defensive skills, longevity, consistency, the ability to take a punch, and the opposition encountered.

Mickey Walker

Former Welterweight and Middleweight Champion Mickey Walker  would not rank high in the categories of boxing boxing ability and defensives skills, but he more than made up for that in the ability to take a punch, longevity, and the quality of the opponents he took on. Not only did he win the welterweight and middleweight titles, he also fought for the light heavyweight championship losing a decision to Tommy Loughran. But that was not enough for the 5’7” slugger. He also became a contender for the heavyweight championship. 

Walker, from Elizabeth, New Jersey, began his professional career in 1919, and in 1921 he held welterweight champion Jack Britton to a draw over 12 rounds. In 1922 he would get another shot at Britton and this time he pulled out a decisive win knocking the champion down 4 times on his way to winning the title.

In 1925, Walker moved up in weight class and took on middleweight champ Harry Greb in a bout that would become the stuff of legend. Well, not the bout in the ring but the one that supposedly took place in the hours after that encounter.

Walker and Greb Before The Bell

In a 1981 interview with Peter Heller for his book “In This Corner”, Walker told his side of the story. He concedes Greb won the fight in the ring that night but says he won the rematch that took place outside of a barroom hours later. About Greb, Walker had this to say “He gave me a good shellacking the night we fought. The fight after, on the street, I always take credit for winning that, so I was champion anyhow.” He goes on to relate how the two had been drinking together in the company of their girlfriends. The trouble began when they walked outside and Mickey told Greb “You know Harry, you’d never have licked me if you didn’t stick your thumb in my eye.” Walker said he didn’t mean it as an insult, but Greb certainly took it as one. Harry responded “Why you bum, I could lick you if I had no hands, and I’ll show you.” As Greb said this he began taking off his jacket. Just as Harry had his coat part way off and with the sleeves down by his elbows Walker fired off his best shot at him. According to Mickey, Greb flew four feet into the air and up against a wall before crashing to the ground. At this point a huge policeman stepped in and broke things up. 

After his evening with Greb, Mickey returned to defending the welterweight title but in 1926 he lost it to Pete Latzo. At this point he was having difficulty making the weight. He returned to the middleweight division and later that same year he won the title from Tiger Flowers. 

It was at this point that Walker got an itch to go after bigger game. Though he had not gotten any bigger he decided to campaign in the light heavyweight division and took on former champ Mike McTigue whom he kayoed in one round. He then won a decision over Paul Berlanbach. Mickey continued defending his middleweight crown while fighting the bigger men and eventually earned a shot at the light heavyweight championship taking on champion Tommy Loughran. On March 28, 1929 he lost a ten round split decision to the smooth boxing Loughran.  

After the loss to Loughran, Walker ran off 22 straight victories in the middleweight and light heavyweight divisions. He also did something else; he began fighting heavyweights. He believed he would have better luck against the very big guys because they would be slower and easier to hit. For a time it looked like his reasoning was paying off. He beat the very tough Johnny Risko twice and then took on the fearsome Bearcat Wright. Outweighed by 42 pounds and a half a foot shorter than his opponent, Walker, after being down briefly in the first round, came back to floor Wright and by the tenth and final round had Bearcat hanging on. Mickey won the decision and the opportunity to take on Jack Sharkey in an elimination bout to determine a challenger to champion Max Schmeling.

Walker vs Sharkey

Walker fought aggressively against Sharkey and, while absorbing quite a few heavy blows fromJack, kept the pressure on to earn a draw with the future heavyweight champion. It was an amazing performance by the 5’7″ Toy Bulldog.

Mickey continued taking on heavyweights and defeated King Levinsky and Paulino Uzcudun while dropping a decision to Johnny Risko in their third meeting. In 1932 he would be matched with the now former champion Max Schmeling. A win over Schmeling would put Walker in line for a shot at champion Jack Sharkey. 

Walker vs Schmeling

Schmeling was the one big man Walker should not have stepped in with. Mickey’s straight at you style was made to order for the counterpunching German who knocked Walker down late in the first round. Mickey took an awful beating as Max continually landed with his vaunted right hand. Mickey kept attempting to land hooks on Max but was out punched time and again In the 8th round Walker, with his eyes swelling shut was dropped two more times. At one point Schmeling pleaded with the referee to stop the fight. When Walker returned to his corner his seconds waved the towel signifying their man had had enough. 

In the Schmeling fight Mickey showed incredible courage, but this fight also took a lot out of him. He would continue fighting but was never the same again. He would challenge one more time for the light heavyweight title, losing a decision to Maxie Rosenbloom. He never lost his middleweight title, rather he gave it up when he set his sights on the heavyweight throne. 

Schmeling Pleads With The Referee To Stop The Bout

Mickey Walker retired from the ring in 1935. His final record is believed to be 131 wins (60 by knock out), 25 losses, 2 draws, and 2 no contests. After retiring he opened a restaurant in New York City and also took up painting. He earned some renown as an artist and his work was displayed in galleries in New York and London.

Walker died in 1981 after suffering from Parkinson’s Syndrome no doubt brought on from his years in the ring. If greatness was judged solely on toughness and heart Mickey Walker would rank very near the top.

Smokey Joe’s Cafe At The Ogunquit Playhouse Treats You Nice

 

Smokey Joe’s Cafe: The Music of Leiber and Stoller

Through June 9 at The Ogunquit Playhouse

Reviewed by Bobby Franklin

Kyle Taylor Parker, Dwayne Cooper, John Edwards, and Jelani Remy
(Photo by Gary Ng)

Smokey Joe’s Cafe: The Music of Leiber and Stoller now playing at the Ogunquit Playhouse is 90 minutes of non-stop entertainment. This high energy musical revue showcasing the classic rock and roll hits of Jerry Leiber and Mike Stoller has a cast of ten backed up by a six person orchestra. The musicians are onstage, and sometimes take center stage, throughout the performance. 

Most people are familiar with the Leiber and Stoller songbook. 38 of the songs are performed on the Playhouse stage, including a few of the lesser known works, which is an added treat as they should be better known. 

If you are looking for the story behind the songs you won’t find it here. What you will find is a cast that works non stop from start to finish while all the time appearing to be having as good a time on stage as the audience is having while watching them. From the opening number to the final encore there is never a dull moment. The cast has the Ogunquit Playhouse really rocking. 

The outstanding set is two levels with winding iron stairways on both sides. It has a bar and the walls are mostly red brick. There is much neon lighting. Those neon lights are put to good use during the number On Broadway. The tables and chairs are also used in many of the numbers. Scenic designer Beowulf Boritt has done a marvelous job. 

Dionne D. Figgins and Dwayne Cooper
(Photo by Joan Marcus)

At no time during the performance did I feel like I was simply watching a bunch of musicians belting out one song after another. Thanks to the brilliant choreography of Josh Bergasse who is also the director, each number was something unique and special. Running through just a few of them, there was Jelani Remy’s Jailhouse Rock with some acrobatic dancing that would have impressed Elvis. 

Remy, along with John Edwards, Dwayne Cooper, and Kyle Taylor Parker captured the original Coasters sound on Searchin’, Young Blood, Charlie Brown, and a truly inspired and crowd pleasingly funny version of Along Came Jones. John Edwards brought the house down with his portrayal of Poor Sweet Sue who keeps falling into the clutches of Salty Sam. 

Nicole Vanessa Ortiz and Alysha Umphress, along with Max Sangerman on guitar gave a solid performance on Kansas City. Ms Ortiz’s version of Hound Dog reached back to the wonderful original version by Big Mama Thornton while Dionne Figgins and Jelani Remy gave a sensual Spanish Harlem with Ms Figgins moving beautifully around the stage while being serenaded by Mr. Jelani. The touch of Spanish guitar was perfect for it.

Emma Degerstedt withJelani Remy, Shavey Brown, Dwayne Cooper, and Max Sangerman
(Photo by Joan Marcus)

Emma Degerstedt on Teach Me How To Shimmy is attired in a hot pink shimmy dress that in and of itself deserves to be listed as a member of the cast. Alysha Umpress captures the melancholy mood on Pearl’s A Singer. 

Max Sangerman and the rest of the male members of the cast harmonize beautifully on an a cappella version of Loving You. Alysha Umpress performs Trouble while accompanied by Yuka Tadano, giving it a jazz flavor.

For Dueling Pianos most of the orchestra was rolled out on center stage with two upright pianos back to back. With Sonny Perkins and Matt Oestreicher facing off on the keyboards it was like having Jerry Lee Lewis in stereo. This was a rip roaring number. 

I have only touched on a few of the many great songs performed in this revue. There is much, much more. 

 

Jelani Remy, Shavey Brown, John Edwards, Dwayne Cooper, and Max Sangerman
(Photo by Joan Marcus)

Smokey Joe’s Cafe is really enhanced by the choreography. All of the movements on stage go perfectly with this great music. The energy pumping out on stage is impossible to resist. At times the cast members dance up and down the aisles while the entire theatre is rocking. It is something to experience. 

On the evening I was there Mike Stoller was also in the audience. After the encore he took to the stage to say a few words. It was very touching as he spoke of his late partner Jerry Leiber. He told of how he would call him whenever he had news, and took this occasion to relate what he would have said to him after watching these young performers do such a fine job with the music he and Mr. Leiber created. He was deeply touched by it all. 

This production of Smokey Joe’s Cafe; cast, sets, and costumes, along with director Josh Bergasse will be transferring to New York in July. I highly recommend seeing it now before it moves on. It’s been a long winter and I can think of no better way to get ready to welcome the summer than by taking a ride to beautiful Ogunquit, Maine and getting your rock and roll juices flowing with this knock out of a show. 

Smokey Joe’s Cafe: The Music of Leiber and Stoller

Playing through June 9

The Ogunquit Playhouse

Rt. 1 Ogunquit, Maine

207.646.5511

ogunquitplayhouse.org 

Seaglass Performing Arts Announces Spring Concert

Seaglass Performing Arts 

Presents

Happy Birthday Lenny!

Seaglass Chorale, under the direction of Jean Strazdes, Artistic Director, will present a tribute to Leonard Bernstein in celebration of what would have been his 100th birthday (1918- 2018). Performances will include selections from West Side Story, Wonderful Town, Candide and others. 

Concerts will take place on Saturday, June 2nd, at 7:00 pm at Christ Church in Kennebunk and Sunday, June 3rd, at 3:00 pm at Wells High School in Wells. 

Tickets are available through Seaglass [at] gwi [dot] net; via phone at 207.985.8747; and at Morse Hardware on Post Road in Wells. Tickets are also available at the door. Prices: $15/adult; $12/senior and student 

The Monster Speaks: Dr. Jordan Peterson at the Shubert

By
Edmond D. Smith

Tuesday night, May 22 at the Shubert Theater in Boston the monster spoke. Dr. Jordan Peterson the Canadian clinical psychologist, author, professor and newly minted YouTube and media sensation gave a two hour (a one-and-a-half-hour lecture followed by a half hour q&a) presentation expounding on the themes of his internationally bestselling book, 12 Rules For Life, An Antidote To Chaos. Dr. Peterson’s emergence as a public intellectual with a growing following has been met by howls of protest and derision including accusations of his being a Nazi, homophobe, misogynist, anti-Semite and the leader of a cult of neocavemen.

Tuesday night, the monster himself took the stage at the Shubert to a capacity house of, if his critics are to be believed, exclusively male, knuckle-dragging troglodytes. The first shock of the evening came when it turned out that in reality his audience consisted of casually dressed, polite (predominantly but not exclusively) men; but women were certainly there in abundance as well. The evening’s second shock came when Dave Rubin walked onstage to warm up the audience and introduce the monster. Rubin is a former liberal, a Jewish comedian, and host of the increasingly popular podcast The Rubin Report. He is also a happily married gay man. His introduction of Peterson was funny, warm and admiring.

Then came the main event. The monster walked out onto a stage bare but for a stool holding bottles of water. He was thin, of average height, wore a gray suit and tan shoes (loafers?). When he began to speak his voice was mild. His mannerisms were restrained. He presented as the antithesis of the fire-breathing hate monger that much of the press has portrayed. Over the next two hours he covered a wide-ranging territory that included some personal history, (He grew up in a small, rather bleak town in Alberta, Canada. The closest big city was Edmonton, five hundred miles distant.) much discussion of his intellectual heroes Carl Jung and Alexander Solzhenitsyn, his distaste of deconstructionist philosopher Jacques Derrida, and his fascination with both biological and social hierarchies. Apparently, his audience of devolved knuckle-draggers had come out to hear a lecture about ideas.

And he was an explosion of ideas. His manner of speaking was professorial without being didactic.

And he was an explosion of ideas. His manner of speaking was professorial without being didactic. He gave the impression of a man who isn’t just teaching: he paused often as he seemed to be carefully considering what he would say next, checking it in his mind for consistency, veracity and value. Its an unusual style that has the effect of making his audience feel as if they are discovering ideas with him, as if they are part of his process. And he readily admits that he doesn’t have all the answers but is sincerely interested in finding them.

At times he was personal and emotional, choking up a bit in remembering his mother-in-law’s difficult passing. At other times he was amusing as when he talked about the need rats have for physical nurturing. He also addressed some of the criticism he has gotten from the media including his now infamous TV interview with British journalist Cathy Newman, in which prior to the TV cameras coming on she was polite, charming and sympathetic and then completely changed her demeanor when the cameras were  turned on. He also addressed another recent controversy in which a phrase, “enforced monogamy”, has been used to delegitimatize him. His explanation of his actual meaning was dealt with in the post-speech q&a which can be seen in the link below:

If there was any one issue that propelled him into the spotlight it was his stance on a piece of Canadian legislation, Bill C-16 which stipulates that people must address transgendered or other “non-binary” people by a pronoun of their choosing. To fail to do so can lead to governmental sanctions. Peterson took to YouTube to voice his objection to the idea of compulsory speech which he vociferously contends is a violation of the principle of free speech. Suddenly he went viral.

Much of what Peterson has to say is his extrapolation of what are the consequences of the hierarchical structure of society, itself embedded in the biological foundations of humanity. His analysis considers the stories of ancient heroes and stories of how man succeeds and fails. This leads him to Christianity which relies on the primacy of the individual. This he contrasts with the collective, which history shows invariably leads to tribalism and the segmentation of society into separate interest groups. And it is here that we can see the genesis of the Left’s hatred of Peterson. By his reckoning history is rife with the failures of collectivism, including the horrors of Nazism, socialism and communism. And he sees the current growth of intersectionality, the collision of differing groups invariably leading to the strong marginalizing the weak, bringing about group conflict, with groups of the privileged victimizing the groups of the less powerful.

He believes that the only way out of these constantly recurring collectivist societies which distort man’s true nature and inexorably leads to societal disaster is through making the individual preeminent. Thus Christ is literally and metaphorically the individual who shoulders responsibility and saves the world. Individual consciousness, the individual’s sense of responsibility despite the burden it places on man is the way out of the collectivist trap.

And it is Peterson’s utter rejection of collectivism as anathema to the flourishing of the human spirit that makes him such a target for the Left.

And it is Peterson’s utter rejection of collectivism as anathema to the flourishing of the human spirit that makes him such a target for the Left. If people once again start to believe in the primacy of the individual, the individual with a sense of meaning, then the Left’s entire narrative crumbles and blows away like dust. This is why they see him as such a danger, as such a monster. To watch the cheer that rose up from the audience when Peterson pointed to the necessity of their taking responsibility for their own actions would be enough to drive the Left to the paroxysms of hate that they have directed at Peterson.

So the monster concluded with a call to people to live up to their “true nature” by accepting personal responsibility for their lives, and taking up… “an ethic of fair play and courage” which “…keeps us a good distance away from Hell.”

By the conversations that could be heard when Dr. Peterson had concluded his presentation the now obviously non-troglodytic audience left inspired to shoulder heavier burdens of responsibility in order to dedicate themselves to a higher purpose.

At this point it became impossible to view the humble academic whose words had just held our attention for two hours as having any of the characteristics of a monster. If a monster had been expected to show up on the Shubert stage that night, he never appeared. In fact he seems never to have existed at all.

 

Attention Was Not Paid: “Fall”

 Fall

By Bernard Weinraub

Directed by Peter DuBois

Through June 16

The Huntington Theatre Company

Calderwood Pavillon, Boston 

Reviewed by Bobby Franklin

(Note: This play had an emotional impact on me, and because of that I have decided to focus more on the story than in writing an in-depth review of the production.)

Watching a recent performance of Bernard Weinraub’s Fall at the Calderwood Pavillon was an emotional experience. The play about Arthur Miller, his wife Inge Morath, and their son Daniel who was born with Down Syndrome is not a happy story. It certainly stirred up a lot of anger in me. Before I get into the story I want to say a few words about the production so as not to confuse my feelings about the play with the my opinion of how fine a production this was.

Nolan James Tierce and Josh Stamberg
(Photo Credit: T. Charles Erickson)

The cast is led by Josh Stamberg as the great playwright Arthur Miller, with Joanne Kelly as his third and last wife. John Hickok plays theatrical producer Robert Whitehead,  Joanna Glushak as Dr. Wise. Nolan James Tierce, an actor with Down Syndrome, takes on the role of Daniel, and while Mr. Tierce does not have a lot of lines, I found his words to be the most moving of any uttered by the rest of the cast. 

This was a superb production from top to bottom with each cast member giving strong performances, a tight script, incredible sets and lighting, along with the usual excellent direction of Peter DuBois. 

The difficulty I had with it had nothing to do with the production, it had to do with the subject matter, and Arthur Miller in particular. I know author Bernard Weinraub did not want to portray him as a villain, but after watching Josh Stamberg’s solid performance as Mller I felt nothing but disgust for that self-centered hypocrite. Joanne Kelly’s Inge comes across a bit more sympathetically, but in the end I even felt the pangs of loathing for her.

Josh Stamberg, Joanne Kelly, and Joanna Glushak
(Photo Credit: T. Charles Erickson)

Early in the play we witness Miller and Morath after she has given birth to their son Daniel. They are in the hospital and are given the news that there is a problem with their son. When they are told he has been born with Down Syndrome they are devastated, as just about any parents would be. They have to make some decisions about how to care for Daniel. It is 1966 and at that time doctors were advising parents that the best course was to have “these children” institutionalized as that would ensure they would get the best care. Inge wants to keep her son, Arthur can barely look at him. The decision is made to send him to an institution. It is all quite heartbreaking.

For the almost two hours that follow we witness the story of how Arthur and Inge went on with their lives. Of how Miller refused to even see his son, or as it is said “deleted” him from his life. The great moralizer continued to speak out about social justice causes, preaching on how we should treat each other all the while neglecting his own son. He continued living life fully in the public eye while keeping Daniel hidden away.

We hear of how his creative abilities diminished after Daniel was born. I am not sure if that is supposed to elicit some sympathy for the man, but I could not muster any. Now, I am fully aware that at the time of Daniel’s birth things were different. Many parents were only trying to do the right things when following the advice of the doctors who recommended institutionalization. However, in Miller’s case it is clear he wanted Daniel “erased” from his life. He saw this as “a life sentence”. Why? Was it shame? Was it fear he would not be able to be a good father to his son? Or was it merely that Daniel was going to be an imposition on his and Inge’s lives? Whatever it was, I saw no sign that he felt any love at all for Daniel. It was that coldness that struck me deeply and made me unable to find any sympathy for the man. In fact, by the time the play was concluded I was filled with disgust for him. 

Fall gives us much to think about. It is easy to say “it was different then,” that today we understand people better and are more compassionate, but is that really true? Today, more likely than not Arthur and Inge would have known about Daniel’s condition before he was born. They most likely would have “deleted” him before he came into the world. Miller would have been able to continue moralizing with a clear conscience. The latest figures I could find say 67% to 90% of unborn babies diagnosed with Down Syndrome are not brought to term. It has to be a heart wrenching decision for parents to make, and I can’t imagine being in that postion. I doubt very much that the parents who make such a decision feel they are erasing a child from their lives. They must suffer greatly. I doubt very much Miller would have agonized for even a moment over the decision, and that is what I found so disturbing. It is and should be, a very difficult and heart breaking decision. 

We find out at the end of the play that Daniel is still alive, and he has lived a very happy and fulfilling life eventually living with a foster family who loved him. He did go to meet his father once but was not greeted warmly. Daniel’s words spoken by Nolan James Tierce at the end of the play show what a truly remarkable man Daniel has become. How he came to know the true meaning of family. And, how lucky the world is that he was not deleted. 

On a personal note. I grew up in a neighborhood where there were a number of children with Down Syndrome. This was not long before Daniel was born. I never heard about having such children sent off to institutions. They were part of our community and were well loved. Maybe, people in my area could not afford to send their children away. I believe they kept them because they could not imagine life without them. With the advances in science that now allows us to know before birth if a child will be born with Down Syndrome I can’t help but wonder if we really have changed all that much. Some questions haunt me. Is a child with Down Syndrome less worthy of being brought into the world? If so, what does that say about the children who are living? Are they less worthy than others? These are hard questions.

Nolan James Tierce
(Photo Credit: T. Charles Erickson)

As I was leaving the theater I was thinking how nice it would have been to see the story told from Daniel’s side. This was still all about Arthur Miller and his egotism. Attention must be paid, and it should be paid: to Daniel. When you see Fall listen closely to the words spoken from the heart by Nolan James Tierce at the end. Pay close attention to those words as they are so much more important than trying to figure out why Arthur Miller behaved so terribly.

“Oklahoma!” Opening At The Ogunquit Playhouse

Rodgers and Hammerstein’s Oklahoma! Bursts Onto the Ogunquit Playhouse Stage Just in Time to Celebrate its 75th Anniversary! 

Rodgers and Hammerstein’s great American classic Oklahoma! bursts onto the Ogunquit Playhouse stage June 13 to July 7. The Playhouse is thrilled to create an exciting new production of this beloved classic as part of its 75th Anniversary since first opening on Broadway. This groundbreaking musical was Rodgers and Hammerstein’s first collaboration, and in many ways their most innovative, having set standards for musical theatre that are still being followed today. The lively musical features the timeless classics, “Oh, What a Beautiful Mornin’,” “The Surrey with the Fringe On Top,” “I Cain’t Say No,” “People Will Say We’re in Love” and of course the triumphant “Oklahoma!”

“Now, with Oklahoma! celebrating its 75th Anniversary, it seemed the perfect time to bring this beloved classic to our stage. The Ogunquit Playhouse production will feature the original designs from Cameron Mackintosh’s London and Broadway revival of Oklahoma!, and Susan Stroman’s choreography, which will be tailored for our production by Susan Stroman’s Associate Ginger Thatcher. Our show will be helmed by Fred Hanson, who together with an outstanding cast will create a fresh, lively and exuberant Oklahoma!,” stated Executive Artistic Director Bradford Kenney.

The high-spirited rivalry between the local farmers and cowboys living in Western Indian Territory at the turn of the twentieth century, provide the colorful setting for Curly, the confident cowboy, (Stephen Mark Lukas) and Laurey, the beautiful, head-strong farm girl, (Taylor Quick) to play out their love story. Throw in a fierce rival vying for Laurey’s attention, one flirtatious fiancée, a reluctant suitor, magnificent choreography and one of the most beautiful musical scores ever written and you have a recipe for a rip-roaring good time! 

Individual tickets are on sale now with prices starting at $52. Three and four-show packages are also available for the current season. Gift certificates are also on sale. For tickets visit www.ogunquitplayhouse.org, the Box Offices located at 102 and 10 Main Street, Ogunquit or call 207-646-5511.

Could Joe Louis Beat Today’s Big Heavyweights? He Sure Could.

He Beat Giant Buddy Baer Twice

By Bobby Franklin

Poking around on social media recently I came across a discussion where the “experts” were once again going on about how today’s big heavyweights would be just too strong for the champs from previous eras. There was little disagreement that guys like Wilder, Joshua, and the Klitschko brothers would walk through fighters such as Joe Louis, Rocky Marciano, and Jack Dempsey. One person commented that all of the big heavyweights of the past 25 years would have beaten all of the smaller heavyweights that came before them. These people seem to believe we were living in Munchkin Land until the past couple of decades. Using their reasoning we would have to believe Jess Willard and Primo Carnera were the greatest heavyweight champions of the past century since they were comparable in size to today’s fighters. 

I could go on about the number of “small” heavyweight champs who took apart men much larger in size than they were. I have written in the past that in many of these matchups where the champ was taking on a much larger opponent, not only did the smaller man win, but it was not even close to being his toughest fight.

Since it seems so many of these experts just can’t get past believing size is the most important factor in deciding the outcome of a heavyweight fight I thought I would once again come up with an example of why someone like Joe Louis would have had no problem defeating today’s crop oversized champs.

Buddy Baer was a contender for the heavyweight title in the early 1940s. He was the brother of former champ Max Baer. At 6’ 7” and weighing in at around 250 pounds he was comparable in size to today’s heavyweights. Buddy was also a tremendous puncher scoring 49 knockouts in his 53 wins. He lost only 7 fights and was stopped just twice. Baer was also lean and agile. He had excellent boxing moves to go along with his great strength. Unlike today’s wild swinging heavyweights, Baer threw short, accurate punches.

In 1941, Buddy stopped Tony Galento a win that put him in position to challenge heavyweight champ Joe Louis. The fight was set for May 23, 1941 in Washington, DC. Louis weighed in at 201 3/4 to Baer’s 237 pounds. Buddy, at 6’7”, was also 5 inches taller and had a much longer reach. Seeing the two of them step into the ring together gives you a sense of what Louis would have looked like matched up against Klitschko or Wilder. The one difference being that Buddy Baer was a much better boxer that either Deonty or Vlad.

Boxing experts covering the bout in 1941 were bit more savvy than those around today. They made Joe Louis a ten to one favorite over Baer despite the difference in weight and height. The experts I hear from today would have had Baer a hundred to one favorite based on his size. After all, how could Louis possibly beat someone so much bigger than he was? We all know Wilder and Klitschko would just walk through Louis because of their size and strength. The same would have to hold true for Baer. 

A funny thing happened when the bell rang for the start of the fight. Baer came out aggressively and went after Louis. Baer was not prone to the wild swings such are used by Deonty Wilder. Instead, he used much shorter and well placed punches. He did back Louis up. He even managed to deck Joe with a short and accurate left hook, sending Joe through the ropes. But after that  the fight became pretty much a one sided affair. You see, Louis did something that today’s experts aren’t terribly familiar with; He used his great boxing skills to turn Baer’s size against him. Joe was able to slip inside the big man’s arms and hit him with short and powerful punches that hurt him. 

Buddy Baer was no quitter and did manage to stay in the fight trying his best to overpower Louis, but by the sixth round he was nearing the end. In that round Louis floored Baer three times with devastating and accurate blows. The final knock down finished him off. There was some controversy over the ending of the fight as Baer’s handlers argued the last knock down had come from a punch that was landed after the bell. Baer was protecting himself at the time it was landed, so if the bell had indeed rung before the punch had landed neither fighter heard it. It made no difference in the outcome of the fight.

It did make a difference in how the fight was ruled. Baer was helped back to his corner and was on his stool when the bell rang for the seventh round. His handlers argued he should be given the win because of a foul. Referee Arthur Donovan did not agree and instead disqualified Baer because his seconds would not leave the ring and allow the fight to continue.

Louis v Baer Second Fight

The minor controversy was enough to get Buddy a rematch with Louis, and on January 9, 1942 the two met again at Madison Square Garden. This time Baer came in even heavier for the fight probably figuring the extra weight would work to his advantage. That theory feel apart before the bell could ring ending the first round. Louis was devastating in taking the giant apart dropping him three times in less than three minutes with the final knockdown being for the ten count.

If you can’t seem to visualize Joe Louis handling himself against the overgrown champs of today just take a look at his matches with Buddy Baer. You will see how the old adage “The bigger they are, the harder they fall” applies. 

Joe Louis would have no problem dealing with today’s unschooled giants. They would provide target practice for him. To say a Deonty Wilkder would be too big and strong for Louis is simply laughable. Joe would have had a field day with him.

It should also be noted that when Louis and Baer fought the second time WW II was underway. To help with the war effort Louis donated his entire purse of $47,100.94 from the fight to the Navy Relief Fund. Not only was Joe Louis a great champion, he was also a great American.  

The Ros Muc Legend

THE MAN WHO WAS NEVER KNOCKED DOWN: The Life of Boxer Sean Mannion.

By Ronan Mac Con Iomaire.

Rowman & Littlefield, June 2018. 240 pages.

Reviewed by Len Abram

Boxing biographies, like boxers in fiction and film, are usually about champions, those who reached the craggy peak of success, a title. This book is about a contender, who missed being champion, by not that much. In the 1980s, although Sean Mannion was a top contender, with many great fights, he never wore the gaudy belts of the WBA or the WBC, arbiters of the sport. For fellow Irishman Ronan Mac Con Iomaire, his biographer, Mannion deserves a second chance for the public to respect the fighter he was, and honor the man he is. The man who was never knocked down is still standing.

Iomaire has already helped produce a documentary about Mannion. In 2017, his “Rocky Ros Muc” was well received by Irish film critics. Mannion’s story begins in the village of Ros Muc in Connemara, western Ireland. Its most notable inhabitants, including Mannion, had to leave to find fame and success. Ireland’s people, it has been said, is its greatest export. The mother of the current mayor of Boston came from the village.

When Sean Mannion climbed through the ropes for every fight, the label on his trunks read “Rosmuc,” for his village of 500. Mannion was once offered thousands of dollars to change the “Rosmuc” to the name of a business or a product, but he refused. He wouldn’t do it for a million, he said. “Rocky Ros Muc” is a reference to the Rocky of the most popular boxing story on film. That Rocky was a thick tongued, Phillie native, who punches his way to glory against all the odds, from lower class to sports aristocracy. The 20 foot square of the ring has its own truth to tell in the sweat and blood of opponents. Pedigree, privilege, and position don’t count a whit once the bell is rung and the fight is on. At its best, the ring is a meritocracy.

In reality, as Iomaire explains, boxing is a big business, where few are fortunate – Sugar Ray Leonard was the first to make $100 million in the sport – and most of the rest, like Mannion, barely make a living. Managers, those who direct the talent and careers of the boxer, make a major difference, the choice of manager a mix of opportunity and luck. Mannion’s best manager, the legendary Angelo Dundee, appreciated his boxers and called each “my guy.” For Dundee, boxers, their well-being, came first. His job was to enhance their physical and psychological health to make them champions.

Dundee finished his career with 15 champions. He considered Mannion as one of his most talented boxers. Dundee noted how tough Mannion was. It was he who remarked that Sean had never been knocked down, the title of Iomaire’s biography. Mannion could take a punch and distribute its force, roll with it, to lessen its impact. Mannion was a natural fighter, and often sparred out of his weight class. Dundee’s regret is that he didn’t manage Mannion when he was 20, instead of 30, nearing retirement.

Iomaire has a convincing example of the other kind of management, where the boxer’s interests do not come first. In the early 1980s, a fight between the highly ranked Tommy Hearns and the unknown Sean Mannion was proposed. Aside from more money, success or even a good showing in the matchup would have elevated Mannion’s career and prospects. NBC commentator Dr. Ferdie Pacheco vetoed the fight because of Mannion’s manager then, Jimmy Connolly.

In June 1981, Connolly had committed Mannion to fight Davey “Boy” Green in London, but Mannion remained stateside for a wedding. Connolly was on the hook for a fighter against Green. He put in Danny Long after Long, just coming off a hard loss against Alex Ramos, had only 10 days of rest. Against Green, Long was beaten in four rounds, and his face, according to Iomaire, looked like someone had taken a baseball bat to it.

Pacheco was furious. Allowing Long only 10 days of rest was abuse, an example of what’s wrong with boxing. To the newspapers, he complained that’s how boxers got killed. Pacheco wouldn’t  allow any fighter managed by Connolly to be on NBC, not because of the boxers, but their manager. So the bout between Mannion and Hearns didn’t happen.  (Pacheco also told Muhammed Ali to retire when Ali’s reflexes slowed, but the champ ignored the advice.) 

Mannion continued his rise in the ranks until he got his chance to fight for the light middleweight crown. On October 19, 1984, in perhaps the most meaningful contest in his career, he went 15 rounds against one of the best of his class, Mike McCallum, whom Tommy Hearns reportedly feared and avoided fighting. A veteran of over 250 fights, a natural warrior like Mannion, McCallum would be his toughest opponent. Mannion, however, was fearless.

Fortune did not smile on the Irishman. Five weeks before the fight, Mannion’s eye was cut by an errant elbow during sparring. The stitches made it impossible for him to spar. The wound had to heal. Mannion trained, hit the bags and pads, and ran the miles, but he lost the sharpness gained through sparring. In the fight, McCallum’s punches reopened the cut and shut Mannion’s right eye. Although he was lucky to last through the 15th , Mannion lost the decision. McCallum went on to defend his title many times after, but never faced Mannion again, his toughest opponent.

The fight at Madison Square Garden, as Iomaire describes it, explains elements of Mannion’s identity, what made the fighter into who he is. South Station ran extra trains to New York to accommodate all the Boston Irish, on their way to attend the fight. Iomaire estimates that 10,000 of the 20,000 in the arena were Mannion fans.

Like the “Rosmuc” stitched onto his trunks, the Gaelic language of Ireland epitomized Mannion’s roots, and perhaps Ireland’s painful history, the poverty, wars, famines, and oppression. Paddy, Mannion’s brother and cornerman at his fights, used to shout at him in Gaelic to lift Mannion’s spirits and remind him who he was. Mannion feared no man, but he was worried that he would bring shame to Ireland and Ros Muc.

That wasn’t the case. When he returned to Ros Muc after his defeat, he was treated as a hero for representing Ireland in a championship bout. Sean Mannion never became champion in any division. He fought until retiring in 1993 at age 36. He worked construction in Boston to make a living. For a while, he trained boxers, but apparently his gym closed, the interest in boxing waning and the interest in property rising, as poorer sections of Boston gentrified.

Iomaire says little about Mannion’s personal life (we learn late he was divorced, remarried, and has a daughter) or his problem with drinking, perhaps those empty calories one reason he struggled to make his weight class. Readers will be fascinated by the episode when Mannion had to lose nine pounds in a day to make the welterweight requirement, or forfeit the fight. Mannion got through that ordeal, as he did through every challenge in the sport of boxing – except winning the title, champion.

“Oklahoma!” At The Ogunquit Playhouse Is More Than Okay

Oklahoma!

Directed by Fred Hanson
Through July 7
The Ogunquit Playhouse
Ogunquit, Maine
ogunquitplayhouse.org
207.646.5511

Stephen Mark Lukas and Cast
(Photo: Gary Ng)

It has been seventy-five years since Richard Rodgers and Oscar Hammerstein collaborated on their first play and changed musical theatre forever. Oklahoma!, with a bit of refreshing, has held up well and the latest production now playing at the Ogunquit Playhouse gives this great work the respect it deserves.

The play about the growing pains of the soon to be 46th state takes place, with the exception of the final scene, in one day. There are two romantic stories, the one between Curly (Stephen Mark Lukas) and Laurey (Taylor Quick), and Ado Annie (Chessa Metz) and Will (Colby Dezelick), as well as the conflicts that arise as two groups, the cowboys and the farmers have to learn to live together and share the land. There is also the matter of Judd (Timothy John Smith), the brooding and scary loner, who doesn’t fit in.

As the overture plays, beautiful scenes are projected on the curtain that give us a sense of the vastness of the Oklahoma territory. The opening scene, which was a departure from usual theatrical formula at the time in which the play first hit Broadway, shows Aunt Eller (Susann Fletcher) churning butter while, from offstage Curly begins singing Oh, What A Beautiful Mornin’, which is as effective now as it must have been in 1943.

The sets which include a cabin, windmill, cornfield and a backdrop that seems to go on forever are constant reminders of the vastness of and challenges faced by those building a community on this new land.

The Farmer and the Cowmen
(Photos: Gary Ng)

The score is still as fresh as the morning dew on the cornfield. Stephen Mark Lukas and Taylor Quick in the leading roles combine the acting chops and voices that their parts demand. It is said that Rodgers and Hammerstein would cast singers who could act rather than the usual model of finding actors who could sing. I’m not sure what formula was used here, but it certainly works.

This production is based on the 1998 London revival, which ironically did not transfer directly to Broadway because Actors Equity demanded only American actors be allowed to play in it. The choreography by Susan Stroman is the same used in that revival, and is led here with some additions by choreographer Ginger Thatcher who has worked with Stroman. It is important this was handled well as Oklahoma! is as much a dance piece as it is the musical, and Ms Thatcher gets it done darn well.

The dream sequence ballet ending Act I is breathtaking.

The dream sequence Out Off My Dreams-Ballet ending Act I is breathtaking. Ms Thatcher along with this amazingly talented cast have given audiences a scene that will be talked about for years. Atmospheric, emotionally jarring, and just magnificent. At the performance I attended the audience was in awe as they stepped out for intermission.

The play, that at moments teeters on the brink of sentimentality but never goes over the edge also has a dark side to it. The character Judd who comes across as creepy and threatening, and with good reason, never fits in with the others. In all of the pieces I have read about the play I have not read any that show sympathy with him. In this production Timothy John Smith gives us all of the darkness of Judd, but also an undercurrent of how things may have been different if the others had made an effort to understand him. I’m reminded a bit of Captain Queeg in The Caine Mutiny. Could a sympathetic ear have made a difference? After all, early in the play it is Curly who shows a dark side when, in jealously over Judd’s escorting Laurey to the box social, he visits Judd and attempts to convince him to commit suicide (Poor Judd His Daid). While the song is funny it is also quite disturbing, and the Calibanish Judd sees through it. Not exactly an invite to join in with the community. Mr. Smith brings more complexity to this character then I have seen before, and he does it very subtly. Quite impressive.

All of the musical numbers are memorable with People Will Say We’re In Love, The Farmer And The Cowmen, The Surrey With Fringe On Top, and the finale Oklahoma! being particularly outstanding.

Taylor Quick and Stephen Mark Lukas
(Photo: Jay Goldsmith)

Oklahoma! is a wonderful musical but it is more. The story has many levels to it, and it is one that can make us think about the challenges of working together to build and maintain a community. In a way we are all farmers and cowmen who have to work on being friends. It is also a reminder that being able to get along does not mean not having differences, but instead to respect those differences. It also means striving to understand the outsider.

With cornfields that literally reach out to the actors, an unbeatable score, a cast that abounds with talent, lighting and scenery that are beyond impressive, this is a theatre experience not to be missed. Director Fred Hanson has pulled it all together and the Ogunquit Playhouse stage is the perfect theater to witness it in.

Every so often I like to remind my readers that the Ogunquit Playhouse is not summer theatre. It is a full blown theatrical company that rivals Broadway in quality. As is seen in Oklahoma!, you get top talent with a production team that knows how to out on a play. And, it all takes place in a beautiful and comfortable theater. If you haven’t been before, don’t hesitate to take a drive up to beautiful Ogunquit, Maine and see for yourself. Richard Rodgers and Oscar Hammerstein would be pleased. You’ll leave the theater saying “Oklahoma!, You’re Okay!”

“The Pianist of Willesden Lane” Returns To Hartford Stage

Piano Virtuoso Mona Golabek Returns to Hartford Stage for a Limited Engagement of The Pianist of Willesden Lane

Back by popular demand, the inspirational solo show will run July 12 – 22 for 13 performances.

World-renowned piano virtuoso Mona Golabek returns to Hartford Stage for a limited engagement of her inspirational show, The Pianist of Willesden Lane. Back by popular demand, The Pianist of Willesden Lane will run Thursday, July 12, through Sunday, July 22, for 13 performances only. Tickets will be available for sale on Saturday, May 19.

“Mona’s performance is fondly remembered by Hartford Stage audiences, and I am frequently asked when she might return to Hartford,” said Michael Stotts, Managing Director of Hartford Stage. “We are all delighted to get this chance to welcome Mona back this summer, to share her moving story, and experience her extraordinary talent.”

“There are singular performers and singular performances. We are thrilled to welcome Mona Golabek and The Pianist of Willesden Lane back to Hartford Stage,” Hartford Stage Artistic Director Darko Tresnjak said.

In The Pianist of Willesden Lane, Golabek performs some of the world’s most beautiful classic piano pieces as she shares her own mother’s riveting story of survival. Golabek was taught piano by her mother, Lisa Jura, who, along with Lisa’s mother, Malka, is the subject of the book, The Children of Willesden Lane: Beyond the Kindertransport: A Memoir of Music, Love, and Survival, by Golabek and Lee Cohen. Director Hershey Felder (Our Great Tchaikovsky, George Gershwin Alone) adapted the play from the book.

Mona Golabek in The Pianist of Willesden Lane.
(Photo: mellopix.com and Berkeley Rep.)

The Pianist of Willesden Lane originally performed at Hartford Stage in 2015 to rave reviews from both critics and audiences. The Hartford Courant called The Pianist of Willesden Lane “a skillful concert performance with a heartwarming story of survival…Entrancing!” Broadway World wrote, “It’s an extraordinary story of human courage, cooperation, and talent. What lifts it here into the realm of art is how beautifully Ms. Golabek plays the piano. Segments of Beethoven, Grieg, Mozart, Debussy, Scriabin, Chopin, Rachmaninoff, and more are interspersed with straightforward narration about events and personalities, all delivered by Ms. Golabek. Her interpretations are full of feeling.”

An author, recording artist, radio host and internationally acclaimed concert pianist, Golabek is the founder and president of the non-profit organization Hold On To Your Music. A Grammy Award nominee, she has been the recipient of numerous awards, including the Avery Fisher Career Grant and the People’s Award of the International Chopin Competition. She has been the subject of several PBS television documentaries, including More Than the Music, which won the grand prize in the 1985 Houston Film Festival, and Concerto for Mona, featuring her and conductor Zubin Mehta. She has appeared in concert at the Hollywood Bowl, The Kennedy Center for the Performing Arts, Royal Festival Hall, and with major orchestras and conductors worldwide.

Golabek’s recordings include the best-selling Carnival of the Animals, featuring the voices of Audrey Hepburn, Ted Danson, Lily Tomlin and others; Ravel’s Mother Goose, featuring Meryl Streep; and the Piano Trios of Arensky and Tchaikovsky, recorded in collaboration with her sister, Renee Golabek-Kaye, and including the Poulenc Double Piano Concerto.

Felder, a pianist, actor, playwright, composer, producer, and director, has previously thrilled Hartford Stage audiences with his one-man shows Our Great Tchaikovsky, George Gershwin Alone and Monsieur Chopin. His other works include Hershey Felder, Beethoven; As I Knew Him; Maestro Bernstein; Musik (Franz Liszt); and Hershey Felder as Irving Berlin.

 Hartford Stage box office: 860-527-5151 or visit www.hartfordstage.org.

Review:”Born For This: A New Musical” At Emerson Majestic

Born For This: A New Musical 

At Emerson Majestic

Is Musically Uplifting

Reviewed by Bobby Franklin

Born For This: A New Musical now playing at the Emerson Majestic Theater in Boston is the story of BeBe and CeCe Winans. The brother and sister are the youngest members of the Winans family and a number of their ten siblings, comprise the Gospel singing group The Winans. 

Milton Craig Nealy as Pop Winans with cast. (Photo Credit: Joan Marcus)

Raised in a religious and loving family, BeBe and CeCe  were not part of the group their brothers formed, but in 1982 CeCe was invited to audition for Jim and Tammy Faye Bakker’s Praise The Lord Network in Pineville, North Carolina. When CeCe was accepted her parents agreed to let her move south from Detroit on the condition BeBe would accompany her. Before long BeBe would also join the network as a singer. 

Born For This has a compelling story about the rise of the two young Winans and the success and conflicts they faced; however, the musical numbers overshadow that story. This is not a bad thing as the score, written by BeBe Winans, is powerful, spiritual, and uplifting.

Donald Webber Jr. plays BeBe and Loren Lott takes on the role of CeCe. Both are fine musical talents and deliver their numbers exquisitely. Milton Craig Nealy as Pop Winans nearly steals the show with his rich voice which is filled with warmth and strength. His rendition of I Got A New Home is something to behold. 

Chaz Pofahl as Jim Bakker, Kirsten Wyatt as Tammy Faye Bakker, Loren Lott as CeCe Winans, and Donald Webber Jr. as BeBe Winans (Photo Credit: Joan Marcus)

Chaz Pofahl and Kirsten Wyatt play Jim and Tammy Faye Bakker. Mr. Pofahl gives us a sympathetic Jim Bakker who was the first white televangelist to have African Americans included in broadcasts. The Bakker’s received multiple threats when they first featured the Winans, but they did not back down and to this day BeBe feels he and his sister were treated very well by the couple whose ministry ended up mired in scandal. Unfortunately, Ms Wyatt’s Tammy Faye is played more in caricature, and while quite funny, diminishes the deeper story.

That story is a good one and deals with so many issues such as struggling with what success truly is, the conflict with monetary gain while retaining one’s integrity, the strength of family, faith in God, and the flawed nature of even the best intentioned people. But as I said, the music takes front row in this production. 

At times I got the feeling I was at a taping of American Idol, as each cast member stepped forward and gave every number their all while the audience cheered them on. The theater was filled with energy. There is no lack of musical talent on the stage of the Emerson Majestic.

While the entire cast is strong I would just like to mention a couple of others who were particularly moving. Nita Whitaker as Mom Winans and Brad Raymond who plays Ronald Winans both have great presence as well as great voices. Both were deeply moving.

Though lacking in dramatic tension, the story is still a touching one that will leave you feeling good. The music will leave you smiling. 

It will be interesting to see how well a musical that shows Evangelical Christians in a good light is received here in the Northeast, but it is hard not to feel positive after being filled with the wonderful spirit and music of BeBe Winans. 

Born For This: A New Musical

Presented by Emerson Arts

Now through July 15

Emerson Cutler Majestic Theater, Boston

Bostontickets [at] artsemerson [dot] org

617.824.8400

 

 

“An American in Paris” The Ogunquit Playhouse July 11 Through August 4 

The Regional Premiere of An American in Paris to Open at the Ogunquit Playhouse 

 One of the most captivating musicals ever to be adapted for the stage, An American in Paris, makes its regional premiere at the Ogunquit Playhouse July 11 through August 4. This exquisite musical is inspired by the Academy Award-winning film that starred Gene Kelly and Leslie Caron and features music and lyrics by George and Ira Gershwin with book by Craig Lucas. The Ogunquit Playhouse is proud to be the first regional theatre in the U.S. to produce this new musical, which won four Tony Awards in 2015. The stunning combination of iconic music, timeless love story, breathtaking ballet, energetic tap dancing and an all-new design created exclusively for the Ogunquit Playhouse results in a spectacular musical that includes the Gershwin songs “I Got Rhythm,” “Liza,” “’S Wonderful,” “But Not for Me,” “Stairway to Paradise,” and orchestral music including “Concerto in F,” “2nd Prelude,” “2nd Rhapsody,” “The Cuban Overture,” and “An American In Paris.” 

An American in Paris tells the romantic story of World War II veteran Jerry Mulligan (Clyde Alves) who, hoping to start a new life, chooses newly-liberated Paris to make a name for himself as a painter. His life becomes complicated when he falls for Lise (Julie Eicher), a young Parisian shop girl, only to learn he is not her only suitor. This lavish new musical is guaranteed to sweep you off your feet, and into the arms of a story you’ll never forget.

Starring as Jerry Mulligan is Broadway’s Clyde Alves in his Ogunquit Playhouse debut. Mr. Alves’ numerous Broadway credits include Bullets Over Broadway, Nice Work If You Can Get It, Anything Goes, Wicked, Hairspray, Oklahoma!, On The Town, for which he received an Astaire Award nomination, and The Music Man, for which he won an Astaire Award for his performance as Tommy. 

Co-starring as Lise, the mysterious Parisian shop girl who catches Jerry’s attention, is Julie Eicher who is also making her Ogunquit Playhouse debut. Ms. Eicher was in the National Tour of Phantom of the Opera, and has performed at Lyric Opera of Chicago in Carousel, and Theatre by the Sea in Young Frankenstein. She has also performed with the Nashville Ballet, Dayton Ballet, Ballet Neo, and Artisan Dance Company as well as on television’s “So You Think You Can Dance.” This fall she will be joining the National Tour of Miss Saigon.

www.ogunquitplayhouse.org   207-646-5511.

Stop Complaining About The Heat!

Just Imagine What It Was Like Being Ringside

At Toledo On July 4, 1919

By Bobby Franklin

So, now that the long winter is finally a thing of the past and summer is in full swing we are already hearing the complaints about the heat. As people go from there air conditioned homes to their air conditioned cars to their air conditioned offices they can’t seem to resist bemoaning the hot weather. While having dinner in an air conditioned restaurant after attending a movie at an air conditioned theater the topic turns to how miserable they are because of the heat. 

We live in an unprecedented time in human history. Never have so many lived in such comfort; We have indoor plumbing, central heating, cooling, home entertainment centers, and supermarkets with an endless supply of food at our fingertips, and medical care that is beyond what anyone could have imagined just a few years ago. Poor people in the United States today have more comfort than the wealthiest people did as little as a hundred years ago, yet we all seem to be complaining more than ever. It seems human beings react to positive change by looking for more reasons to be unhappy.

A lot of this may be blamed on the amygdala, the part of our brain that plays the primary role in our processing of memory, decision making, and emotional response. The amygdala is programmed to seek out bad news. It does this because bad things can harm us, and in order to be able to defend ourselves from harm we must be alert to danger. With less danger around us the amygdala will become alert to more minor problems. It is one of the reasons we are so influenced by bad news. The more negative things we hear, the more likely we are to think things are much worse than they are.

At a time when we should be counting our blessings we have become a nation of whining children.

At a time when we should be counting our blessings we have become a nation of whining children. It really is tragic that with so much good around us we just can’t seem to stop and smell the roses. We have lost all sight of how tough things used to be. 

As July 4 approaches I think back to an earlier Independence Day. No, not the one in 1776, but one just less than a hundred years ago. I have written about it before, the day Jack Dempsey won the Heavyweight Title from Jess Willard. While it was a brutal fight, I have often wondered what it was like have been sitting at ringside that day in Toledo, Ohio. While the fighters had to deal with the heat, they were in the ring for less than a half an hour, the spectators spent all afternoon there, and what an afternoon it was. 

110 Degrees At Ringside!

When the crowd first arrived the temperature was in the nineties and rose to 110 degrees by the time the main event took place. The fight was outdoors and there was no shade. The sky was clear and the sun was blazing. On top of this, there was a shortage of beverages. The night before, a huge batch of lemonade had been made, but the fighter Battling Nelson mistook the tub containing the refreshing drink for a bathtub and bathed in it. Water was brought in, but not enough, and what there was was warm.

Promoter Tex Rickard had the stadium built just for the fight, and it was put up fast. The lumber used had not had time to season so when people sat down on the boards the sap was leaking out sticking many of them to their seats and ruining there clothing. I guess it was one way to keep people from staying in their seats.

You also have to remember that back then people did not have access to cool clothing. Most were wearing wool pants and jackets. The only protection they had from the sun were the straw hats they were wearing. There was no where to go for relief. Hotels and bars were not air conditioned. They might find a place with a fan or two, but that would mostly just circulate the hot air. It had to be miserable being there, but watching a film of the fight and the reaction to Dempsey winning the title, the heat did not dampen the enthusiasm of the crowd. 

It’s funny, but as tough as things were back then, I doubt many people complained. Daily life even for the best off was something we could not even imagine today. Life was hard and so were the people, but they dealt with it and moved forward. And, in moving forward they continually worked to make things better. Now that we have achieved so much it might be nice if we put things into perspective and stopped complaining for a while and instead, started counting our blessings. 

As hot and sticky a day it was on July 4, 1919, the people attending the Dempsey/Willard fight were actually there to have a good time, and they did. It would soon be back to work for them where things would be even harder. I’ve often thought that Jack Dempsey was possibly the toughest man that ever lived, but those fans at ringside were pretty hard characters too. Next time you complain about the heat while sitting with friends in an air conditioned room, just imagine yourself at ringside in Toledo in 1919. And also remember, those folks were there to have fun.

 

Tommy Burns: Smallest Heavyweight Champ Packed A Punch

A True “World” Champion

By Bobby Franklin

Unfortunately, Tommy Burns is best remembered for being the man from whom Jack Johnson won the Heavyweight title. That fight took place in 1908 in Sydney, Australia with Johnson winning a one sided victory. The fight has been recorded as a stoppage win for Johnson, but in some records it is stated Johnson won on points. The reason for the discrepancy is because an agreement had been made before the bout that if the police stepped in and stopped the fight it would be decided on points. Indeed, the police did put an end to the action, but it was apparent Tommy was not going to last much longer, so a stoppage victory is more the truth.

It has also been reported that Burns went into the fight still suffering from the effects of influenza. This is not to imply he would have beaten Johnson if he had been in top shape, but it goes to show the tremendous courage Tommy showed in standing up to Johnson for 14 rounds. Tommy not only stood up under a heavy physical beating, but also had to endure Johnson’s humiliating taunts. In spite of all this Burns never took a backwards step and gave it his all.

Born Noah Brusso on June 17, 1881 in Normanby Township near Hanover, Ontario, Canada, his family was of German descent and very poor. Tommy was the 12th of thirteen children, five of whom died before reaching adulthood. Tommy eventually landed in Detroit where he began his boxing career. He changed his name to Tommy Burns and began gaining quite the reputation as a small man who would take on opponents regardless of size. Burns had very strong legs from where he got much of his power.

Burns and Philadelphia Jack O’Brien

Tommy’s first major bout was against all-time great Philadelphia Jack O’Brien, and while he lost a decision to O’Brien he gave a good account of himself. He would go on to fight O’Brien two more times, both matches being in defense of his heavyweight title with one bout ending in a draw that most people thought Tommy won and the other in a clearcut victory for the champ.

At 5’7” Tommy Burns was the smallest heavyweight champion to ever hold the title. He was also one of the most active, as well as a true world champion defending the title all around the world and against all comers.

Burns first laid claim to the heavyweight championship with a victory over Marvin Hart. Hart had been designated the champion by Jim Jeffries when Marvin defeated Jack Root. Jeffries, who had retried as undefeated champ, thought he could name a successor, but the public never really accepted Hart. Nor did they accept Burns when he defeated Hart. Tommy knew this and decided to prove his worth by traveling the world and fighting the best fighters different countries had to offer. This took him to such places as London, Dublin, Paris, and Melbourne, Australia. Eventually he would gain public acceptance.

Burns and Philadelphia Jack O’Brien

Because of his small stature Tommy was often the underdog even when defending the title. He proved the oddsmakers wrong time and time again making thirteen defenses of the crown, the 4th most of any title holder. Two of those defenses came on the same night. Eleven of the victories were by knock out with only Jack O’Brien lasting the distance with him which he did on two occasions by running and holding. Burns’s kayo of Bill Squires at 1:28 of the first round is one of the fastest wins in any heavyweight title fight.

It has been widely reported that Tommy was ducking Jack Johnson and was forced into fighting him when Jack pursued him around the world. In reality, Tommy was also a smart businessman who managed himself. He held out for a big payday knowing the fight would be a huge attraction. When his demand for $30,000.00, more than twice the amount ever paid to a heavyweight champ was met, he quickly signed for the fight.

Burns was the first and only Canadian born boxer to win the heavyweight title. He holds the record for consecutive knock outs in heavyweight title fights with eleven. He is ranked 4th highest in heavyweight history for the number of times he defended the title. Jack Johnson was the first man to stop him in a fight and he would only lose by stoppage one more time, in his last fight when he was 39 years old and had been inactive for two years.

Tommy Burns may not have been an all-time great, but in his day he was a force to be reckoned with. Always in shape with an aggressive counter punching style, he packed dynamite in both fists.

Burns retired from the ring in 1920. He engaged in several business ventures including managing boxers and running a saloon. He eventually became a minister. Burns passed away in 1955 at the age of 73.

There is a Youtube clip of him speaking long after he retried. His voice is clear and strong and he shows no effects from having engaged in 58 fights, a testament to his skills. His final record stands at 46 wins (34 by knockout), 4 losses (2 by stoppage), and 8 draws. Very impressive.

Tommy Burns deserves to be remembered for much more than his bout with Jack Johnson. He was a true World Champion.
https://youtu.be/ZoNz9bFzTwE
https://youtu.be/xql0mLNCymI

INSIDE THE RING WITH TEDDY ATLAS and ESPN 

By

Mike Silver

Timothy Bradley and Teddy Atlas

Considering the level of ignorance, incompetence and sophistry that has taken over virtually every aspect of today’s schizophrenic professional boxing scene it was a revelation of sorts—not to mention a breath of fresh air—to discover the recently televised (ESPN) series of five master classes conducted by world renowned boxing teacher-trainer Teddy Atlas. The program’s title, Inside the Ring, doesn’t do justice to the quality of “insider” information and knowledge that is imparted in each of the five segments totaling 47 minutes. Atlas, a protégé of the legendary Cus D’Amato, is the former trainer of Mike Tyson, Michael Moorer, Timothy Bradley and a slew of other notable champions and contenders. For over 20 years he also served as a ringside commentator for ESPN’s televised boxing cards.

With the premier of Inside the Ring (first televised in May and June) Teddy’s role as teacher, historian and boxing psychologist is fully realized. The program brought together Atlas and one of the best boxers in the world, the undisputed super lightweight champion Terence Crawford whose current record shows 33 victories and no losses. Last month Terence added a welterweight title belt to his already impressive resume. 

With both men seated in a boxing ring they reviewed filmed highlights of five of Crawford’s most important fights and discussed how each contributed to the progression of his boxing skills. At its core this program is an engaging and enlightening conversation between an accomplished boxer and a master trainer as they examine and explain the various technical subtleties and strategies on display.  

What transpires is a wonderful “teacher and student” vibe in which the audience becomes privy to aspects of boxing technique that are seldom revealed or understood.

Inside the Ring makes good use of the fight films, often reverting to slow motion so the audience can more readily see what is being described and analyzed. Atlas’s insightful observations, interspersed with Crawford’s astute comments, are both eye opening and entertaining. The mutual respect each has for the other is obvious. Crawford comes off as personable and intelligent. In explaining to Atlas why he decided on a certain strategy Crawford reveals himself to be a thinking fighter who can easily articulate his methodology. What transpires is a wonderful “teacher and student” vibe in which the audience becomes privy to aspects of boxing technique that are seldom revealed or understood.

Teddy Instructing Michael Moorer

Each episode also includes Atlas and Crawford standing up to demonstrate a significant move or counter move that was utilized during the course of a match. Some of the topics discussed include how timing can nullify speed, how to handle a taller opponent, the importance of footwork for defense, or why Crawford was getting hit by an opponent’s left jab. There is a wonderfully revealing moment during the viewing of Crawford’s breakthrough bout with Yuriorkis Gamboa, a talented fighter with as much boxing skill as Crawford but of late hampered by inactivity and age. A slow motion replay shows Crawford getting tagged with a solid right cross. It was Gamboa’s best punch of the fight. Atlas explains that Gamboa set up the punch with a feint and a “throwaway left hook” that distracted Crawford and left him open. Lesson learned. 

This type of real boxing knowledge is like imbibing a cool glass of sweet lemonade on a hot summer day.

This is as far away as one can get from the mindless “rock ‘em sock ‘em” robotic style of too many of today’s poorly coached boxers. Every moment of Inside the Ring is filled with information that relates to tactics and strategy. Thankfully the overused and simplistic “punch stats” aka “CompuBox” numbers are never mentioned. Atlas and Crawford are less concerned with counting up the number of punches than with understanding and explaining what created the situations for those punches to find (or not to find) their targets in the first place. As opposed to the usual mundane and hyperbolic verbiage that accompanies most televised fights, exposure to this type of real boxing knowledge is like imbibing a cool glass of sweet lemonade on a hot summer day. 

As of today there are no plans to continue the series. That is unfortunate because ESPN is in possession of a treasure that is not being utilized to its fullest extent. That treasure is Atlas’s extraordinary knowledge and teaching skills combined with ESPN’s vast collection of boxing films from the 1890s to the present. 

Not only would such a program improve the boxing IQ of every fan, it would improve the overall quality of the sport!

How great would it be to experience Atlas analyzing and interpreting the boxing techniques, strengths, and weaknesses of the sport’s biggest stars of the past and present in the setting described above? I have no doubt that such a program would do much to revive, or at the very least improve, the lost art of boxing. It would be a shame if this program was just a one shot deal thus depriving us of future insights into the mysteries of the sweet science. Not only would such a program improve the boxing IQ of every fan, it would improve the overall quality of the sport! In other words, it would be a gift that would keep on giving. 

Boxing historian Mike Silver is the author of The Arc of Boxing: The Rise and Decline of the Sweet Science and Stars in the Ring: Jewish Champions in the Golden Age of Boxing. Both are available at Amazon.com

Peter Pan At North Shore Music Theatre Through July 22

Elena Ricardo as Peter Pan
Photo©Paul Lyden

PETER PAN, the high-flying Tony© Award-winning musical, follows the adventures of Peter Pan and his mischievous fairy sidekick, Tinkerbell, as they visit the nursery of the Darling children late one night. With a sprinkle of pixie dust, they begin a magical journey across the stars that none of them will ever forget. From ticking crocodiles, to fierce warriors, bungling pirates and the villainous Captain Hook himself, this fun classic will delight all ages. With its iconic score featuring songs like “I’m Flying,” “I Gotta Crow,” “I Won’t Grow Up” and “Never Never Land,” PETER PAN is the perfect show for the child in all of us!

James Beaman (Captain Hook) and Paul Castree (Smee) Photo©Paul Lyden

PETER PAN playing at North Shore Music Theatre thru July 22, 2018.   (978) 232-7200, visit www.nsmt.org,  box office at 62 Dunham Rd., Beverly, MA.  

Harry Greb Won The Title From Johnny Wilson But It May Not Have Been Easy

By Bobby Franklin

Wilson and Greb

On August 28, 1923 Harry Greb won the World Middleweight Championship from Johnny Wilson. Greb gained a fifteen round decision over the reigning champ who fought out of Boston. The fight was held at the Polo Grounds in New York. It has always been believed that Greb won the title in easy fashion over an outclassed Wilson. In fact, the New York Times reported that Harry won 13 of the 15 rounds. The headline said “Wilson, Slow and Awkward, Bewildered By Opponent’s Attack”.

After reading the Times’s report it appears it was only a formality for Greb to take the title. Wilson comes across almost as inept. The reporter from the Times also went on to write that “…the crowd showed its approval with a boisterous shout of acclaim for the-newly crowned champion”.

Six months later the two would meet in a rematch. It seems there would have been no call for the two to step into the ring against each other since the first fight was so one sided. Well, one sided at least according to the New York Times. Could the Times’s story been a case of “fake news”?

Greb vs Wilson

In the early years of the 20th Century, most states made it illegal for decisions to be officially given after a boxing match. Professional fights were only supposed to be exhibitions as the game was pretty much outlawed at the time. People still wanted to bet on the matches and in order to decide who won or lost fans would rely on the opinion of reporters covering the fights. Of course, this led to some wheeling and dealing behind the scenes in order to get a newspaperman to give a decision in favor of a certain boxer so that gamblers could collect on their choice. It was just another way of fixing fights. 

By the time Greb and Wilson fought, it had become legal for official decisions to be given in fights. However, newspaper reporters still liked to pick up that extra cash on the side and would take payoffs from managers and promoters to give favorable publicity to certain boxers. In some cases reporters would write stories about fights they had not even attended. Fake news was just as abundant then as it is today. 

In the case of the first Wilson vs Greb fight, the coverage from the Times has pretty much defined how that fight is remembered. Recently, the great boxing historian Gregory Speciale uncovered another report on the the fight. This one was written by the very highly esteemed reporter Robert Edgren. Mr. Edgren’s account of the fight is quite  different from the New York Times’ piece.

“Nobody felt sure which would get the decision when the fifteenth round was over.”

He begins his story, which was published in the New York Evening World on September 1, 1923, by completely contradicting the New York Times’ reporter who said the crowd shouted its approval of the verdict. Edgren wrote “Harry Greb today is the middleweight champion of the world but when Announcer Joe Humphreys…began his announcement ‘Winner and new champion’ there was no wild burst of applause. It was a victory with no sensational features, and not at all the overwhelming triumph the crowd had expected him to score over Johnny Wilson. Nobody felt sure which would get the decision when the fifteenth round was over.”

That’s quite different from what was reported in the Times. Edgren went on to report that Wilson gave Greb all kinds of trouble and even stated there was a case for Greb being disqualified because of the amount of holding and hitting he did. Wilson’s southpaw style and tactic of going to Greb’s body seems to have made things difficult for Harry. 

Johnny Wilson

Edgren ended his piece by opining how it was not a very exciting fight. He wrote “I’ve seen more excitement at a chess tournament, but it was all right. A world’s championship changed hands as expected.” I think if you read just a bit between the lines you get the message that there was no way Greb was going to lose that night.

I tend to believe the Edgren version over the NYT one as Robert Edgren had an impeccable reputation until the day he died. In fact, the same New York Times wrote in Edgren’s obituary that he was “known for truthfulness”.

There is no doubt that Harry Greb was one of the greatest middleweights of all time, but that doesn’t mean he didn’t have trouble with certain boxers. As I have written before, Greb was the only middleweight champ to both win and lose the title to southpaws. (He lost it to Tiger Flowers). 

Greb and Wilson fought two more times. Their second was a rematch for the title six months later, and according to Boxing Blade it was a close fight. The last fight took place in Boston on April 17, 1925 at the Mechanics Building. This was reported as the most exciting of their three fights with Greb winning a very close decision. 

It appears Wilson’s southpaw style was a problem for Greb, and it is also possible that Johnny very possibly could have been given the decision in any of these fights. 

It is unfortunate that Johnny Wilson is often considered more of a footnote in boxing history and best remembered for losing to Greb. It is also unfortunate that most people think Greb won in a cakewalk over him when it turns out Johnny Wilson gave Harry Greb more than enough to handle. It’s time to reassess Wilson’s talents as a fighter. The man could fight.

“Mamma Mia!” Opens At The North Shore Music Theatre August 7

The hit musical Mama Mia! that includes 22 songs from the group Abba will be playing at the North Shore Music Theatre from August 7 through September 2. This will be an original in-the-round production.

Mamma Mia! is a show that audiences have been requesting for years, and I am excited that we finally have the rights to create our own unique production just for our audiences. Even those fans who have seen Mamma Mia! multiple times before have never seen the show like this,” said Bill Hanney, NSMT owner and producer. “I am also very lucky to be able to cast many of the amazing performers from the recent sold out run we just produced at Theatre By The Sea, my other venue in Rhode Island. North Shore’s production will also be directed and choreographed by our talented Producing Artistic Director, Kevin P. Hill, who has also helmed our hit productions of Mary Poppins, Sister Act, Young Frankenstein, and A Christmas Carol. I know audiences looking to have a good time will not be disappointed.”

NSMT’s production of MAMMA MIA! will be led by Erica Mansfield (Donna Sheridan), along with Tiffani Barbour (Rosie), and Tari Kelly as (Tanya). Erica Mansfield has performed on Broadway in Bandstand, Finding Neverland, Mamma Mia!, On the Town, On the Twentieth Century, Pippin, Evita, and How to Succeed. Tiffani Barbour has appeared on television in “Veep,” “The Leftovers,” and “Law & Order,” and has been seen on stage in New York in Hit the Wall, and Born Blue, and on tour in Mamma Mia! and Fame the Musical. Tari Kelly has appeared on Broadway in Groundhog Day, Something Rotten!, How the Grinch Stole Christmas, The Boy From Oz and Show Boat.

North Shore Music Theatre is located at 62 Dunham Road, Beverly, MA. 

978.232.7200 www.nsmt.org 

Sally Struthers and Hal Linden To Appear In “Grumpy Old Men The Musical” At The Ogunquit Playhouse

To Run  August 8 to September 1

Fasten your seat belt, it’s going to be a grumpy ride! The Ogunquit Playhouse is proud to produce the U.S. premiere of the new musical-comedy, Grumpy Old Men the Musical on stage from August 8 to September 1 — just in time to celebrate the 25th Anniversary of the hit film that starred Jack Lemmon, Walter Matthau and Ann-Margret. This hilarious new show was penned by Dan Remmes, with music by Neil Berg and lyrics by Nick Meglin. Director for the Ogunquit production of Grumpy Old Men the Musical is Matt Lenz.

Two aging neighbors, Max (Ed Dixon) and John (Mark Jacoby), have been feuding for more than fifty years until the beautiful and charming Ariel (Leslie Stevens) moves in across the street — raising the rivalry to new heights! Get ready for non-stop laughs when two great masters of comedy step on stage – Emmy and Golden Globe winner Sally Struthers, and the Tony and Emmy Award-winning actor Hal Linden will team up with a cast of Broadway veterans to add to the fun! Don’t miss this laugh-out-loud story of family, friendship, love and romance in a fresh new musical that’s guaranteed to delight!
“We are thrilled and proud to produce the U.S. premiere of this hilarious new show. We are most excited to share Neil Berg’s fantastic musical score that is in an upbeat Broadway style. And, the work of Dan Remmes and the late Nick Meglin is a very adult and hysterical production that is perfect for our audiences. Because of the themes of family, romance and hilarity, all wrapped up in a fun uplifting musical, we hope we have created something new that will have a long life in the U.S. and beyond,” stated Executive Artistic Director Bradford Kenney.

Hal Linden

The Ogunquit Playhouse is thrilled to announce that that star of stage and screen, Hal Linden joins the cast as Grandpa Gustafson. Perhaps best known for his portrayal of police precinct captain Barney Miller in the hit television series of the same name that aired on ABC from 1975 to 1982, Mr. Linden has earned multiple Golden Globe, Emmy, and Tony nominations over his career. He hosted ABC’s “FYI,” a sixty-second information series in the 1980s, for which he received two Emmy Awards. His third Emmy in 1984 was for his portrayal of a rabbi on the CBS series “Schoolbreak Special.” In 1971, he won the Tony Award for Best Actor in a Musical for his performance in The Rothschilds, and to date, he has performed in more than 20 Broadway and Off-Broadway productions.
Two-time Emmy Award and Golden Globe Award-winner Sally Struthers joins the cast as the new-to-town Punky. She is probably best known for her role as Gloria in the groundbreaking TV series All in the Family. She has also starred in the Fox television series 9 to 5 and her own CBS series Gloria, as well as recurring roles on the CBS comedy Still Standing and the CW network’s highly acclaimed Gilmore Girls. Ms. Struthers joined the Gilmore Girls cast for Netflix’s new four movie limited revival,

Sally Struthers

which premiered in the fall of 2016, and recently guest starred in the acclaimed IFC comedy series Maron. Sally Struthers has performed many roles at the Ogunquit Playhouse including last season’s Bullets Over Broadway as Eden Brent, as Evangeline Harcourt in Anything Goes, the Duchess Estonia Dulworth in Nice Work If You Can Get It, Mama Morton in Chicago, Paulette in Legally Blonde and as Felicia Gabriel in The Witches of Eastwick.
Ed Dixon and Mark Jacoby lead the cast of Grumpy Old Men the Musical as the two feuding (and very grumpy) neighbors. Portraying Max is Ed Dixon, who won the 2017 Drama Desk Award for Georgie: My Adventures with George Rose, which he wrote and starred in. On Broadway he has been featured in Anything Goes, Mary Poppins, Sunday in the Park with George, and Les Miserables, among others. Mark Jacoby joins Grumpy Old Men the Musical as John. On Broadway he has performed in Elf, Sweeny Todd, Man of La Mancha, Ragtime, The Phantom of the Opera, and Show Boat for which he received Tony, Outer Critics, and Joseph Jefferson Award nominations. Recently he starred in the 2017, Oscar-nominated film, The Post.
For info: www.ogunquitplayhouse.org 207.646.5511

Sonny Liston Vs Floyd Patterson What If There Had Been A Third Fight?

Sonny Liston Vs Floyd Patterson

What If There Had Been A Third Fight?

By Bobby Franklin

Sonny Liston and Floyd Patterson spent some time in the ring together, but not much. Their two fights combined lasted a total of only 4 minutes and 16 seconds with Liston winning by knock out in the first round on both occassions. The first fight took place in Chicago on September 25, 1962 and Sonny floored Floyd once, with that one knock down being for the ten count. Ten months later on July 22, 1963 in Las Vegas Liston dropped Patterson twice the with the second time being for the full count. 

In the two fights Patterson landed only one blow of any consequence, and that wasn’t much of a one. He grazed Liston with a right hand during the second fight. Other than that it was all Sonny. It is interesting to note that while the fights were blow outs, Liston did not come out swinging wildly. He took Floyd apart methodically, setting his man up with left jabs and solid body shots. Sonny showed fast hands, using an accurate left jab, along with hooks and uppercuts. He had a definite game plan and executed it perfectly. If they fought a hundred times during that period the result would have been the same. 

Patterson won the crown that had been left vacant when Rocky Marciano retired. He fought Archie Moore as the two were considered the leading contenders, and it was agreed the winner would be named the new heavyweight champion. After winning the title Cus D’Amato, Floyd’s manager, steered the new champ clear of any serous contenders. He had him fight second raters who appeared to pose no threat to Patterson. Fighters such as Roy Harris, Brian London, and Tom McNeeley. He even took on Olympic Champ Pete Rademacher who was making his pro debut the night of their title fight. 

Floyd did run into one contender who proved himself to be underestimated; Ingemar Johansson. Johansson won the title by defeating Patterson by kayo in the third round. Floyd would come back a year later to become the first man to regain the heavyweight championship when he flattened Ingemar n the fifth round. The two would meet a third time with Patterson winning again. 

From 1956 through 1961 the top contenders for the title were shut out from getting their deserved title shots. Men such as Cleveland Williams, Zora Folley, Eddie Machen, and Sonny Liston had to sit on the sidelines. It was not a good period for boxing, nor was it a good time for Patterson. It turns out that even though Floyd was making money and winning fights, he felt he was not proving himself as a man. In a high testosterone profession such as boxing that can cause feelings of shame.

It was Floyd who pushed D’Amato to make the match with Liston. Floyd had to prove to the world, and even more so to himself, that he was a true champion. Unfortunately, the outcome of both fights only left Patterson feeling more shame. The losses deeply embarrassed him. You think he might have given up boxing and taken up a more peaceful profession, but he soldiered on. 

Free of D’Amato’s protective hand he started fighting top contenders. He beat guys like Eddie Machen, George Chuvalo, and Charlie Powell. These wins put him in line for a shot at Muhammad Ali and the championship. Ali did not like Patterson and wanted to punish him. Floyd, unfortunately, went into the fight with a bad back and was limited in his movement. The one sided fight was stopped in the 12th round. 

Once again, Floyd did not let this stop him and he continued fighting. It was at this point in his career that Patterson started to really mature has a fighter. He would not lose a one sided fight again for the rest of his time in the ring. He kayoed Henry Cooper in four rounds, Fought a draw with Jerry Quarry in a fight many believed Floyd had won. In a rematch it was also thought he got a raw deal when Jerry was given the decision over him. He  beat Oscar Bonavena. 

Ellis vs Patterson

In a shot at Jimmy Ellis for the WBA Heavyweight Championship Floyd was robbed of a decision after fifteen rounds. He broke Jimmy’s nose in the first round and appeared to have captured at least a portion of the title for a third time. The sole judge, referee Harold Valan, thought differently.

During these same years Sonny Liston was on the comeback trail as well. He was also seeking to prove himself after his two embarrassing and suspicious losses to Ali. And, while Patterson was growing as a fighter, Sonny was taking on mostly journeyman and starting to age. He was hardly leading a life of health and fitness. His got wrapped up in the Las Vegas nightlife and was hanging out with shady characters. If you look at photos of him over these years you can see the aging in his face. In 1969 he took on Leotis Martin, and in the early going was having the better of it. But when Sonny came out for the 9th round he suddenly looked like an old man. It was apparent age and bad living had finally caught up with him. Martin flattened him in that round.

Martin Kayos Liston

Sonny would have one more fight six months later when he stopped Chuck Wepner. Six months after that he would be found dead.

I have heard Floyd Patterson always wanted a third fight with Sonny Liston. He still wanted to prove himself and show he good take the Big Bear. If the two had fought a rematch in, say, 1969 or so what would have happened? Patterson was fit and clean living, Sonny was old and had slowed down. It can be argued Floyd was stronger at this point in his life, though he hadn’t really grown much physically. However, he had grown a lot emotionally. 

I think a solid case can be made that Floyd would have won a third matchup. After losing to Ali in 1965 Floyd had 16 more fights with only three losses. Two of those three losses were considered bad decisions that should have gone in Patterson’s favor. He was not stopped again until his last fight which was against Muhammad Ali, and that stoppage was because of a cut eye. In the rematch with Ali, Floyd was doing much better than in their first encounter. He was competitive and it was too bad his eye was cut. It was an interesting fight.

A third fight with Liston would have also proved to be very interesting. Just imagine the Patterson of the Ellis fight fighting the Liston of the Martin fight. I think Floyd could have pulled out the victory. Now, wouldn’t that have been something!

Reagle Music Theatre’s “The Music Man” Knows The Territory

Meredith Willson’s “The Music Man” At The Reagle Music Theatre Of Greater Boston

Reviewed by Bobby Franklin

 

Mark Linehan and Cast: Ya Got Trouble

The other night I paid my first visit to the Reagle Music Theatre of Greater Boston, and I was pleasantly surprised by what I saw. The Reagle stages productions of Broadway Musicals at the Robinson Theatre located in Waltham High School. Don’t be fooled by the location. The auditorium is a great venue with comfortable seats and a great view no matter where you are seated. More than that, the play I saw was a top notch production that included a full orchestra, something you rarely see today in regional theatre. That full orchestra really makes a difference and was extremely impressive. 

The production currently playing at the Reagle is Meredith Willson’s The Music Man, one of, if not the, best musicals ever written. It is certainly a favorite of mine and I was skeptical that this would rate very high in quality. My doubts were soon chased away once the orchestra began playing the overture which led into the opening number, the onomatopoeic Rock Island, which takes place on a train. This train left the station and the audience was in for a wonderful ride to River City along with Professor Harold Hill, the flim flam man who would eventually be won over by the Iowa Stubborn folks he was trying to take with his scam about starting a boy’s band.

Mark Linehan, in his seventh production at the Reagle, had his work cut out for him in the role of Hill. Most audience members know Hill from the movie version of the play and have Robert Preston’s version burned into their memories. Mr. Linehan does not attempt an impression of Preston, but instead gives his own interpretation of the smooth talking traveling salesman. It doesn’t take long to embrace Linehan’s Hill and to appreciate what he does with the role. Ya Got Trouble, The Sadder But Wiser Girl, and the rousing Seventy-Six Trombones are all classic Broadway musical numbers that Linehan delivers right on the mark. 

Jennifer Ellis and Mark Linehan

It is also quite the treat to see Jennifer Ellis as Marion Paroo, the librarian with a heart like a lump of lead as cold as steel, but who eventually finds her way to allowing that heart to melt and opens her eyes to seeking her white knight. Ms Ellis puts her heart as well as her beautiful voice into Willson’s warm and touching numbers Goodnight My Someone, My White Night, Will I Ever Tell You, and Till There Was You. Was there ever a better score than this? I don’t believe so, and Jennifer Ellis was born to sing these amazing songs. 

The Music Man has a huge cast and you might think a small company would pare it down a bit, but the Reagle does not. Director and choreographer  Susan M. Chebookian goes all out to give a full scale production here. Using choreography based on the original by Onna White, the huge dance numbers in Seventy-Six Trombones and Shipoopi are a site to behold. Watching and listening to The Wells Fargo Wagon gives you the feeling of excitement the residents of River City have while waiting for the approaching delivery. 

 Ms Ellis and Mr. Linehan are superb, and they are backed up by a strong cast including Harold “Jerry” Walker as Mayor Shinn and Lori L’Italien as his wife Eulalie Mackecknie Shinn. Both have wonderful comedic timing and both are able to push their characters to the edge without crossing into caricature. They are real pros. 

 Shipoopi is a number that is sometimes knocked as not fitting into the play, but when you see see Daniel Forest Sullivan as Marcellus Washburn lead the cast in this more than lively number you won’t be able to imagine it not being included. Sullivan really kicks in on it. 

School Board

Oh, such a large and wonderful cast. The School Board comprised of Louis Brogna, Matthew Gorgone, Antonino Ruggeri, and Tom Sawyer keep perfect harmony in their barbershop quartet numbers. Singing in counterpoint with Ms Ellis on Lida Rose/ Will I Ever Tell You it is a feast for the ears. 

Jonathan Tillen, Marylee Fairbanks, and Jennifer Ellis “Gary Indiana.

I’ve always felt that the Mrs Paroo must be a dream role, and Marylee Fairbanks makes that dream come true as the mother of Winthrop and Marion. Strong and kind with her Irish determination and heart of gold. Ms Fairbanks’s Paroo has the twinkle in her eye and just enough skills at manipulation to push her daughter in the right direction.

Perhaps the real stars of this production are the children and young adults who worked endless hours preparing for their moments on the stage. Jonathan Tillen as the withdrawn Winthrop Paroo shows us the growth of the self conscious young boy with a lisp who has sunk into despair since the death of his father but now begins to find himself through Professor Hill. In both The Wells Fargo Wagon and Gary, Indiana we see him emerge and you can’t help but feel touched by young Tillen’s performance.

Jennifer Ellis and Cate Galante

Winthrop’s friend Amaryllis who prays for him every night is played by Cate Galante. Cate’s Amaryllis is full of life and love. Her feelings for Winthrop warm the heart. She sparkles on stage.

Ye gods! I can’t forget Isabelle Miller who takes on the role of Zaneeta Shinn, the Mayor’s daughter. Zanneta is quite taken with bad boy Tommy Djilas played by Bernie Baldassaro who saves the day, and Professor Hill’s neck, by putting a band together. Both performers are vibrant and interact well together. 

The ensemble is large and in sync. It is quite something to see how they light up the stage in Waltham. Their energy is boundless. The Music Man has a short run at the Reagle in Waltham so you should plan on getting there soon. You don’t want to miss this one. A classic musical with a cast and director that gives it the treatment it deserves. Hop on board, River City next stop!

Meredith Willson’s The Music Man

Through August 12

The Reagle Music Theatre of Greater Boston

The Robinson Theater, 617 Lexington Street, Waltham

781.891.5600 www.reaglemusictheatre.org

These Grumpy Old Men Will Put Smile On Your Face

“Grumpy Old Men: The Musical”

At The Ogunquit Playhouse

Reviewed by Bobby Franklin

Brenda Braxton, Mark Jacoby, and Ed Dixon
Photo by Gary Ng

The United States premiere of Grumpy Old Men: The Musical, based on the 1993 movie, is now playing at the Ogunquit Playhouse, and it is a show filled with lively music, funny lines, great scenery, as well as a touching story. In short, this is a play not to be missed. The music written by Neil Berg with lyrics by Nick Meglin is memorable, and Dan Remmes has done an excellent job of adapting the movie for the stage.

The story about neighbors John Gustafson (Mark Jacoby) and Max Goldman (Ed Dixon) who have been feuding for fifty years is peppered with one line insults, many of which you might want to jot down for future use. “I’d give you a dirty look, but I see you already have one”, is just one example of the shots these two take at each other. I won’t ruin the fun by giving away the others, but I can assure you they get even better. The two were childhood friends but became enemies when John married Max’s high school sweetheart. Both are now widowers with children of their own. Max has a son, Jacob (Kevin Massey) and John has a daughter, Melanie (Laura Woyasz). 

Mr. Jacoby and Mr. Goldman are well paired in their roles as Gustafson and Goldman. These two really know their way around the stage and exchange their lines with perfect timing. They also convey how underneath all of the animosity there is still a bond between the old curmudgeons. I very much doubt that two people who hate each other as much as John and Max would have us believe they do could put so much feeling and energy into their insults.

The opening number Wabasha introduces us to the town and people of Wabasha, Minnesota where ice fishing is a popular pastime. There is the upbeat owner of the general store Chuck Barrels (Doug Eskew) the accident prone Harry (Blake Hammond) the mailman, and the ditzy but very lovable Punky Olander played by Ogunquit Playhouse favorite Sally Struthers. 

Eric Jon Mahlum, Blake Hammond, Tony and Emmy winner Hal Linden, Mark Jacoby, and Doug Eskew
Photo: Gary Ng

Hal Linden plays Grandpa Gustafson. On the number Way To Go, John, Max, Chuck, and Grandpa are ice fishing and we begin to see the direction the story will take as the four reflect on life. Do we stay stuck with our regrets or do we move forward and live?  Mr. Linden brings a depth to this song that will have you taking stock of your own life.  Ultimately, it is all about choices, and sometimes people don’t realize they have choices until something or someone comes along to open their eyes. In this case that someone is Ariel Truax (Leslie Stevens), a college professor who has inherited a house in Wabasha. 

Ariel arrives on the scene riding a snow-mobile with her red hair blowing in the wind singing Heat Wave. This heatwave puts Max and John back into the love rivalry business as they both vie for her attention. Ariel likes to drop quotes from classic authors but she is no highbrow. She is a caring and insightful person, and Ms Stevens gives her character the depth that she deserves.

The book is great, the score is outstanding, the cast

is solid from top to bottom.

Tony nominee Brenda Braxton plays Sandra Snyder an IRS agent who has come to Wabasha in pursuit of unpaid taxes owed by John Gustafson. In Snyder Comes Along we see just how much she relishes her work. You wouldn’t want Ms Braxton showing up at your door to conduct an audit, but you will certainly enjoy watching her perform on the stage. There is a touch of the devil in her, but also a twinkle in her eye. 

I loved the music in this production. Doug Askew’s Chuck touched everyone with Angel. His voiced filled the theater with warmth and richness. It is a powerful number well done. Our Friend Is Gone sung by the ensemble is sad but also reminds us to appreciate the blessing of friendship. Jacob and Melanie sing Parents and Paradise, a song that deals with their life choices and with the difficulty when those choices conflict with caring for parents. 

Grumpy Old Men: The Musical has so much going for it. It is a pleasure to watch the strong cast perform. Sally Struthers’s role has Punky could have been written just for her. Her non-sequiturs are very funny and when she breaks into faux Swedish along with yodeling, well you just have to see her. 

Hal Linden, best known for playing Barney Miller on TV, has also had a long career in music and on stage. He brings that experience to the Playhouse stage and it is a pleasure to watch such a master at work. When he says the line “Life is all about livin’” he is proof of it. Mr. Linden has amazing stage presence. You don’t want to miss him.

This musical really works. The book is great, the score is outstanding, the cast is solid from top to bottom. Every song is good and filled with meaning. It’s a feel good play that doesn’t get hokey. It’s also a play about choices, about how we can do that “livin’” Grandpa Gustafson is talking about, and age should not get in the way. 

I would be very surprised if this production does not move on to Broadway. I recommend you see it now at the Ogunquit Playhouse while you have the chance, you won’t be disappointed. 

As I have said, this play is about choices, and you have a choice; Head to the Ogunquit Playhouse and have a memorable evening or stay home and miss out on some very good theatre. I highly recommend Grumpy Old Men: The Musical.

Grumpy Old Men: The Musical

Through September 1

The Ogunquit Playhouse, Ogunquit, Maine

ogunquitplayhouse..org 207.646.5511

“Kiss Of The Spider Woman” Opens At The Lyric Stage In Boston

Hit Broadway Musical Runs From August 31

Through October 7

Kiss Of The Spider Woman, written by Terence McNally with music by John Kander and Fred Ebb, well run at the Lyric Stage, 140 Clarendon Street, Boston from August 31 to October 7. The hit Broadway musical won 7 Tony Awards including Best Musical and Best Score. 

 

Lisa Yuen as Spider Woman/Aurora

Fantasy and reality become tangled in a dark web in this smash musical by the songwriting team that penned Chicago and Cabaret. Kiss of the Spider Woman revamps a harrowing tale of persecution into a dazzling spectacle that juxtaposes gritty realities with liberating fantasies. Cellmates in a Latin American prison, Valentin is a tough Argentine revolutionary and Molina is an unapologetic homosexual serving eight years for deviant behavior. Molina escapes from the terrifying reality of prison life by sharing his fantasies about a mysterious 1940s movie star who takes on the role of a Spider Woman who can kill with a kiss.

The cast includes: Bernie Baldassaro, Johanna Carlisle-Zepeda, Eddy Cavazos, Arthur Cuadros, Taavon Gamble, Arthur Gomez, Ricardo Holguin, Diego Klock-Pérez, Davron S. Monroe, Luis Negron, Felton Sparks, Lance-Patrick Strickland, Lisa Yuen, Katrina Zofia.

Rachel Bertone returns to the Lyric to direct and choreograph Kiss Of The Spider Woman. Last season she directed and choreographed the Lyric’s hit production of Gypsy.

 For more information contact the Lyric Stage:

617.585.5678 www.lyricstage.com 

ArtsEmerson Presents The U.S. Premiere Of “Hamnet” By Ireland’s Dead Centre

At Emerson Paramount Center, Boston

September 20 through October 7

Ollie West
(Photo Credit: Gianmarco Bresadola)

ArtsEmerson, Boston’s leading presenter of contemporary world theatre, proudly welcomes Dead Centre’s (Ireland) Hamnet, co-directed and co-written by Bush Moukarzel and Ben Kidd. Hamnet opens September 20 and runs through October 7. A multimedia theatre experience, Hamnet brings Shakespeare’s only son, who died at age 11 without knowing his famous father, to the stage. A riveting performance carried chiefly by a solo young actor confronts what it means—and what it costs— to be great. ArtsEmerson and Dead Centre will provide Boston audiences a final chance to see Ollie West perform in the role of 11 year old Hamnet who The Guardian calls “riveting [and] completely poised”. The companies celebrate West’s farewell performance as well as welcoming the young and talented Aran Murphy to take over the role of Hamnet in the final week of performances at the Emerson Paramount Center. 

Hamnet is an entirely ArtsEmerson show in the way it upends convention,” shares ArtsEmerson Artistic Director David Dower. “It’s a completely surprising, and deeply moving, contribution to the world of Shakespeare. In focusing on his son, a whole new portrait of the man emerges. And it’s audacious, entrusting this emotionally complex story to the care of its young star. Dead Centre is a fresh and rising voice out of Ireland that is emerging on the world stage with this piece. It makes a perfect opening to our 9th season.” 

Shakespeare’s only son takes center stage. William Shakespeare had one son: Hamnet. While William was away working in London, Hamnet died at 11 years old without ever knowing his famous father. How do our dreams impact our families? Do adults really have it all figured out? Or are we blind to what we could have done better until it’s too late? In Hamnet, a tour-de-force performance from a young actor confronts what it means—and what it costs—to be great, and how living in the shadow of that greatness can keep one in the dark. In this moving, meticulous, multimedia wonder, ambition clashes with family responsibilities in a way that rivals the stakes of a great Shakespearean tragedy. Running time: 60 minutes. 

The production runs three weeks at the Emerson Paramount Center’s Robert J. Orchard Stage, located at 559 Washington Street in downtown Boston. www.ArtsEmerson.org, by phone at 617.824.8400, or in person at the box office.

“Jersey Boys” Comes To The Ogunquit Playhouse

Northeast Regional Premiere

Runs September 5 Through October 28

The multi-Tony Award-winning, international sensation that took Broadway and the world by storm, makes its Northeast premiere at the Ogunquit Playhouse, on stage September 5 through October 28. Jersey Boys takes audiences on an exhilarating journey behind the music of mega-stars Frankie Valli and The Four Seasons. The musical was penned by Marshall Brickman and Rick Elice with music by Bob Gaudio and lyrics by Bob Crewe. It follows the incredible story of four guys bound by one dream, who worked their way from the streets of New Jersey to the heights of stardom. Audiences around the world have gone wild over the electrifying performances of the golden greats that took these hometown boys from Jersey all the way to the top of the charts: “Sherry,” “Big Girls Don’t Cry,” “Can’t Take My Eyes Off You,” “Dawn,” “My Eyes Adored You,” and many more. 

Jonathan Mousset

Starring as Frankie Valli, lead vocalist of The Four Seasons is Jonathan Mousset. He has performed in many regional theatres across the U.S. in such shows as Newsies, In the Heights, and Godspell. Mr. Mousset has also performed in concerts at New York City venues including 54 Below, the Times Center, and the Town Hall. Matthew Guy Magnusson makes his Ogunquit Playhouse debut as Tommy DeVito, lead guitar player of The Four Seasons. Mr. Magnusson has numerous regional theatre credits including Grease, Spring Awakening, American Idiot, and Ring of Fire. 

Performing as Bob Gaudio, songwriter behind The Four Seasons is Andy Christopher. Mr. Christopher has performed as Buddy Holly in the National Tour of Buddy: The Buddy Holly Story and in many regional theatres across the U.S. including Bucks County Playhouse, Flat Rock Playhouse, West Virginia Public Theatre, The Muny, Pittsburgh Civic Light Opera, Great Lakes CFA, Fulton Theatre, Maine State Music Theatre, Casa Mañana, and the Ogunquit Playhouse where he got his start in 2012. Returning to the Playhouse to star as Nick Massi, The Four Seasons bassist is Matthew David Amira. Mr. Amira was last seen at the Ogunquit Playhouse in the 2016 production of The Hunchback of Notre Dame. His many regional theatre credits include Madame Defarge, She Loves Me, Fiddler on the Roof, and South Pacific among others.

207.646.5511  ogunquitplayhouse.org 

SpeakEasy Stage Company Presents “Between Riverside and Crazy”

Pulitzer Prize Winning Play Runs September 14 Through October 13 

Written by Stephen Adly Guirgis, BETWEEN RIVERSIDE AND CRAZY is a dark urban comedy that explores, with both disarming tenderness and street-smart wit, the slippery nature of justice, and the grit it takes to move on.  In an effort to hang on to one of Manhattan’s last great rent-stabilized apartments, ex-cop Walter “Pops” Washington does battle with a dazzling array of outlandish characters, each one a celebration of the glorious contradictions that make up human nature.  

Mr. Guirgis is a member and former co-artistic director of LAByrinth Theater Company in New York City. His plays, which have been produced on five continents and throughout the United States, include Our Lady of 121st Street (Drama Desk, Lucille Lortel, Outer Critics Circle Best Play nominations); Jesus Hopped the ‘A’ Train (Edinburgh Festival Fringe First Award, Barrymore Award, Olivier Nomination for London’s Best New Play); In Arabia We’d All Be Kings (2007 LA Drama Critics Best Play, Best Writing Award); The Last Days of Judas Iscariot (10 Best – Time Magazine & Entertainment Weekly); and The Little Flower of East Orange. His Broadway debut, The Motherfucker with the Hat (dir: Anna D Shapiro), received 6 Tony Award nominations including Best Play. 

Tiffany Nichole Greene will helm SpeakEasy’s production of BETWEEN RIVERSIDE AND CRAZY.  

The cast for this New England Premiere production is Tyrees Allen, Octavia Chavez-Richmond, Maureen Keiller, Celeste Oliva, Alejandro Simoes, Stewart Evan Smith, and Lewis D. Wheeler.

BETWEEN RIVERSIDE AND CRAZY will run for five weeks, from September 14 through October 13, in the Roberts Studio Theatre in the Stanford Calderwood Pavilion at the Boston Center for the Arts, 527 Tremont Street in Boston’s South End.

617.933.8600 or visit www.SpeakEasyStage.com.                

 

 

 

 

A World Of Professional Amateurs

A WORLD OF PROFESSIONAL AMATEURS            

By Mike Silver

     A few weeks ago I watched an HBO boxing double header featuring two light heavyweight title fights: Sergey Kovalev vs. Eleider Alvarez and Dmitriy Bivol vs. Isaac Chilemba. The bouts confirmed to me that the art of boxing, as I knew it, is dead and unlikely to be revived anytime soon. 

  

  It’s not so much what I saw but what I didn’t see. As in so many other televised contests the sophisticated boxing skills that were once so common among the top echelon of professional fighters 50 or more years ago are absent from today’s champions and contenders. In the title fights mentioned above less than a dozen body punches were exchanged and there was virtually no infighting. There were no double jabs or combinations and no feints, ducking, parrying, or weaving under punches. Footwork was in two directions—forward and back. Absent was lateral movement or circling an opponent. Other than occasionally stepping back out of range to avoid a punch, defense was limited to the usual gloves in front of the face while standing still and waiting to be hit. No attempt was made to slip a punch and counter. Every round was a repeat of the previous because the fighters did not have the experience, training or ring savvy to know how to change tactics. 

Today the difference between the best amateur boxers and the best professional boxers is negligible.

         With few exceptions the majority of today’s top professional boxers all fight the same way. There is very little variety in their fighting styles. Even several years after turning pro it is basically the same style they used as amateurs. In the past that would have been perceived as a weakness when competing against an experienced professional. Today the difference between the best amateur boxers and the best professional boxers is negligible. And that is why, in boxing’s current culture and climate, it is impossible to produce a world champion who merits comparison to the greatest boxers of the 1920s to the 1970s. 

       One of the sport’s current stars is the former two time Olympic gold medalist (2008 and 2012) Vasyl Lomachenko. This extremely talented boxer won his first title in 2014 in only his third professional fight. Over the next four years he added two more divisional titles to his impressive resume. But we will never know how great Vasyl can become because the talent pool in the lighter weight divisions lacks depth. Where are the great fighters to test him? Answer: there are none.   

     Lomachenko is a rare commodity. He reminds us of the very promising professional prospects who often caught our attention during boxing’s golden age. But even if he had been competing during the last vestiges of that era—the 1960s and 1970s—his rise to the top would not have been as rapid or as easy. And there would be no guarantees he would ever win a title. Despite his amazing amateur record he would not have been ready this early in his career (less than a dozen professional fights in four and a half years) for the likes of Sugar Ramos, Vicente Saldivar, Carlos Ortiz, Nicolino Loche, Roberto Duran or Aaron Pryor.

This used to be known as “stick and move” strategy. It is rarely seen today.

     What makes Lomachenko stand out today is his use of extreme speed of punches combined with rapid and constantly shifting footwork that he uses to confuse and befuddle second rate opponents. This used to be known as “stick and move” strategy. It is rarely seen today. I’m grateful to Lomachenko for reviving it. Hopefully it will catch on. After all, a target swiftly moving to and fro is always more difficult to hit than a stationary one. It is a simple concept that doesn’t seem to have penetrated today’s boxers or their trainers. The best way to neutralize a constantly moving target is to either keep your opponent preoccupied with a busy left jab, make him miss, and then counter, or cut off the ring while applying unrelenting pressure. Luckily for Lomachenko there are no outstanding pressure fighters today in the mold of a prime Manny Pacquiao or Julio Ceasar Chavez. Another was Ray “Boom Boom” Manicini who gave the great Alexis Arguello trouble for 13 rounds. Ray wasn’t ready to take on Arguello but if we were to replace Arguello with Lomachenko I think the result would be a win for “Boom Boom”. 

     Forty years ago another gifted professional, Wilfred Benitez, won the junior welterweight title from the great Antonio Cervantes in his 26th professional fight. It is the same title Lomachenko won by stopping Jorge Linares in the 10th round on May 12th 2018. It was Loma’s 12th pro fight. Linares had a decent amount of professional experience but at best he is a slightly better than average boxer. Yet by using an effective jab and quick counters he was able to keep the fight even through nine rounds. Now what do you think would happen if we were to replace Linares with a prime Antonio Cervantes or Wilfred Benitez?  

 Perhaps a boxer with as much natural talent as Lomachenko may have adapted if he had come along 50 or more years ago. But it’s impossible to say. In years past there were so many terrific prospects who faltered when it came time to make the leap from great prospect to great boxer. 

     I don’t say this to demean the current crop of world champions. (At last count there were over 100 spread over 17 weight divisions!) The best of them possess an abundance of natural talent, are in excellent physical condition, have extensive amateur experience, and usually put forth a tremendous effort. It is not their fault that after turning pro they do not receive the type of quality training and competition that would have a positive impact in improving their boxing technique. 

A major reason for the lack of refined skills is the shortage of qualified teacher-trainers who understand and can teach the finer points of boxing technique.

     A major reason for the lack of refined skills is the shortage of qualified teacher-trainers who understand and can teach the finer points of boxing technique. Nevertheless, despite these drawbacks, I think it is important to make comparisons between today’s best and those of decades past if only to gain perspective and to inform and enlighten us as to what it truly means to be a great boxer.  

          Among today’s fighters there are a few who are not of the cookie cutter variety. Lomechenko, Terrance Crawford and Gennady Golovkin are in this category. They are pleasing to watch because they are capable of performing at a higher level than the sea of mediocrity that surrounds them. They bring back memories similar to the type of young talent we used to see years ago. Golovkin is the most “old school” of the three. But an accurate appraisal of their current level of overall skill and experience indicates they are not as well rounded and seasoned as the top contenders and champions of boxing’s golden past. Through no fault of their own they will never be tested in the same way the best fighters of the 1920s to 1970s were tested. They will never experience the type of brutal competition their counterparts in decades past had to contend with while trying to hold onto a title or a top ten rating.   

     Let’s return to the four fighters mentioned at the beginning of this article, all of whom are either current or former light heavyweight champions. How would they have fared against the best light heavyweight champions of the 1970s and early 1980s? (Comparisons to golden oldies like Loughran, Rosenbloom, Lewis, Conn, Moore or Johnson are unnecessary because the answer is too obvious). Does anyone who has seen the following boxers actually believe today’s champions could defeat Bob Foster, Mathew Saad Muhammad, Victor Galindez, John Conteh or Michael Spinks? And what about Richie Kates, Jerry “The Bull” Martin, Yacqui Lopez, Eddie Mustafah Muhammed, Jorge Ahumada, Dwight Braxton, Marvin Johnson and Eddie Davis? These 1970s era light heavyweights did not build up their records fighting 2nd and 3rd rate opponents, as is the norm today. They did not avoid the hard fights. 

All of the above proved to be tough and seasoned professionals capable of giving any great boxer of the past a competitive fight. Aside from the quality of their training and the seasoning they acquired over the course of their careers these accomplished professionals possessed another very important weapon: psychological toughness. A fighter who could combine that type of resilience with superior boxing skills was very, very tough to beat.   

 Of the four light heavyweights  who headlined the HBO show the best of the lot is Alvarez who won his portion of the title by stopping Kovalev in the seventh round. He did very well considering he hadn’t fought in over a year. (Long layoffs and inactivity is another feature of the current boxing scene). I am impressed by Alvarez but also saddened. He is extremely talented, well-schooled in basic boxing technique and is very determined. Had he been more active (only four fights in the last two years) he could have eclipsed Andre Ward as the star of the division. But at the age of 34 and with only 23 pro fights in 11 years the former amateur champion will never have the opportunity to realize his full potential.   

        Another example of unrealized professional talent is Dmitry Bivol. As a successful amateur boxer he engaged in nearly 300 fights, winning a slew of regional titles before turning pro in 2014. Three years later Dimitry won a portion of the world light heavyweight title in only his 12th professional fight. As an amateur he performed at the highest level. Using those same amateur skills he has attained great success in a very short time as a pro. Dmitry won’t be required to improve much beyond his current skill level because the line that once separated top amateur boxers from top professional boxers has become blurred. In his most recent bout he won a dreary 12 round decision against a second rate opponent whose purpose was just to survive the 12 rounds and collect his payday. It would be nice if the four current champs were to engage in a tournament to determine who is best—but don’t hold your breath waiting for that to happen.  

     Forty years ago Dmitry Bivol would be labelled a hot prospect and maybe in line for a semi-final in Madison Square Garden. But as good as he is Dmitry would not be ready to challenge a prime Victor Galindez, the reigning world light heavyweight champion. At that time 300 amateur fights and 14 pro wins (88 rounds) didn’t make you ready to challenge an outstanding professional boxer whose record showed over 50 pro bouts and 485 rounds.

That futile effort, and his opponent’s stubborn resistance, appeared to dampen Kovalev’s fighting spirit.

        And what of Kovalev—the once mighty “Krusher”?  Three years ago he put up a stirring but losing effort against a very good Andre Ward. That decision could have just as well gone to Kovalev. It was that close. His return bout with Ward seven months later ended in controversy and left many fans puzzled. Slightly ahead on points “The Krusher” took several borderline shots to the midsection. He reacted by draping himself over the ropes. The referee awarded the tko win to Ward. In his recent bout against Alvarez he was also ahead on points. Kovalev tried hard for a KO in rounds five and six but couldn’t put Alvarez away. That futile effort, and his opponent’s stubborn resistance, appeared to dampen  Kovalev’s fighting spirit. He came out for the seventh round looking tired and discouraged. Carrying his left hand dangerously low and moving slowly Kovalev was knocked down by a solid right cross. 

         What surprised me was that Kovalev, after arising from the first knockdown, did not appear to know what to do.  But a quick review of his record explained why. In nine years Kovalev had fought only 143 professional rounds. Seventeen of his 28 knockout victims never made it past the second round. A seasoned pro in the same situation would have known how to tie up his opponent in a clinch or bob and weave his way out of trouble, or at least make the attempt. Kovalev, used to knocking out inferior opposition, didn’t know what to do when the situation was reversed. He remained an open target and was quickly dropped twice more before the referee stopped the fight.

             If the reader is interested additional information related to the topic of this article is contained in the author’s book, “The Arc of Boxing: The Rise and Decline of the Sweet Science” (McFarland Publishing). It is available on Amazon. 

Mike’s other book is “Stars in the Ring: Jewish Champions in the Golden Age of Boxing”, also available on Amazon.  

 

   

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https://youtu.be/GjVoOuDGr0w
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https://youtu.be/PXy3VHC0obY

Review: “Kiss Of The Spider Woman

Lyric Stage’s

Kiss Of The Spider Woman

Spins An Interesting Web

Reviewed by Bobby Franklin

 

Eddy Cavazos and Taavon Gamble

The Lyric Stage Company in Boston has kicked off its 44th season with the rarely produced Kander and Ebb musical Kiss Of The Spider Woman. The play, with book by Terence McNally, is based on Manuel Puig’s 1976 novel and the movie that followed. The Tony Award winning musical first appeared in 1993. This production is directed by Rachel Bertone who helmed last years wonderful Gypsy at the Lyric. 

The story, which takes place in an Argentine prison, revolves around Molina (Eddy Cavazos), a gay window dresser who has been imprisoned for “corrupting a minor”, and Valentin (Taavon Gamble), a Marxist revolutionary, who has been sent to jail for his political activities. Valentin is initially tortured and then tossed into a cell with Molina who nurses him back to health. Upon regaining consciousness, Valentin draws a line down the center of their shared cell marking of each’s territory (I Draw The Line). He clearly is not comfortable with the gay Molina.

Eddy Cavazos, Lisa Yuen, and Taavon Gamble

Molina has learned to cope with the horrific conditions of being in prison by escaping in his mind to the movies he used to see when he would accompany his mother (Johanna Carlisle-Zepeda) to the cinema she worked in. One actress occupies his mind, Aurora (Lisa Yuen), whose movies he replays over and over in his head. We meet Aurora in the opening number Aurora.The one role she played that terrifies him is when she played a spider woman who kills with her kiss. As we see Molina and Aurora, through his imagination reenacting scenes from her movies, the character of the spider woman reappears over again as the haunting kiss of death that the prisoners live with everyday.

While Molina is apolitical, Valentin sees in his life a mission to change society. The two learn from one another, with Valentin it is begrudgingly, and eventually form a bond that turns into love. 

The set is provocative as it reaches out to the audience giving a feeling of bringing everyone into the prison. Lighting and shadows on the floor alternate between a spider web and the outline of prison bars. It is subtle yet effective.The off stage screams of prisoners being tortured is unsettling, as it should be, and adds to the feeling of hopelessness Molina and Valentin feel. 

This was my first time seeing a production of Kiss Of The Spider Woman, and my take away is it is a work that is very dependent on having the right people in the roles in order for it to work. Eddy Cavazos is superb as Molina. His body language speaks as much to the audience as do his lines. He moves about the stage with a patience that proves very effective for conveying the depth of the character of Molina. Watching Molina as he copes with the misery and suffering around him, and that is inflicted on him, we also see how he learns to understand his value as a human being. This is a role that could easily be overplayed, but Mr. Cavazos resists that temptation.

Eddy Cavazos and Johanna Carlisle-Zepeda

Of course, this is not a one person show, and Taavon Gamble has his work cut out for him as Valentin, the angry young man who feels he will never get the chance to save the world. Valentin, who wants equal rights for all is confronted with having to face his own problems, now is having to share a cell with a gay man. Can he retain his masculinity while at the same time having feelings and caring for a gay man? It is where he learns we are defined not by what we are but rather by who we are. Mr. Gamble has done a marvelous job in bringing so many conflicting emotions to the stage in a way that we can understand them and share in his growing affection for Molina.

Lisa Yen is Aurora and she sparkles in numbers such as Aurora and Let’s Make Love. She is also haunting as the spider woman who is the ever present shadow of death. Ms Yen is joined by Katrina Zofia, who plays Valentin’s girlfriend Marta, on the song I Do Miracles. 

Molina’s mother is played by Johanna Carlisle-Zepeda. Her rendition of You Could Never Shame Me is a touching and moving love song showing a mother’s unconditional love for her son.

Taavon Gamble, Eddy Cavazos, and Lisa Yuen

While Kiss Of The Spider Woman is a story with much darkness and horrific situations, the tension is broken in the same way Molina has learned to escape from his misery; through the imagining of Aurora’s performances and show tunes, which are excellent. These breaks are much needed and make the story bearable. It is also much in the tradition of Kander and Ebb to take such dark stories and make them palatable. We can witness the suffering and misery while not being overwhelmed by it. That enables us to try to understand it and find ways to prevent it, or at least get through the suffering in life.

Today, almost everything is viewed through a political lens, particularly in theatre, and this play is political. While many will look to find comparisons with what happens in the play with what is happening in our society, it might be a good idea to look a bit further away and a bit closer to where the play is set. In Argentina there is some good news, three decades of Kirchener rule may be coming to an end, while in Venezuela the Marxist government has left the once prosperous country in a state where people are now starving to death. Cuba is still very much a prison island lacking basic human rights. Perhaps Valentin will reconsider his Marxist views in light of all this. I hope so, as he has the drive to do much good.

Kiss Of The Spider Woman

Through October 7

The Lyric Stage, Boston

lyricstage.com  617.585.5678

Marvelous Marvin Hagler’s Toughest Fight

The Night  Marvin Took 

On “The Beast”

By Bobby Franklin

Boxing:Marvin Hagler vs John Mugabi (Orig. Cov. Date 3/24/86)
Credit: Manny Millan
SetNumber: X32793 TK1 R9 F20

Things never came easy for Marvelous Marvin Hagler. Joe Frazier once said to him “You’ve got three things going against you; You’re black, you’re a southpaw, and you are good”. Joe was right. Marvin had to do it the hard way. 

Even before he won the title Hagler was taking on the toughest middleweights in the world, and he was doing it for short money.

Even before he won the title Hagler was taking on the toughest middleweights in the world, and he was doing it for short money. In his fourth fight he took on local rival and outstanding amateur star Dornell Wigfall over whom he won a decision. He would win by a knockout in a rematch. 

In his 15th fight he beat Olympic Gold Medal winner Sugar Ray Seales. In a rematch in Seales’s hometown Marvin would be given a draw in a fight Marvin won easily, and in a third match in Boston Hagler removed all doubt by destroying Seales in one round.

Marvin would go on to beat the undefeated knockout artist Johnny Baldwin. After that fight, promoter J. Russell Peltz invited Hagler down to Philadelphia to try his hand against the best fighters the City of Brotherly Love had to offer. He took on Bobby Boogaloo Watts and lost a highly disputed decision. Next was Willie The Worm Monroe who beat Marvin fair and square though Hagler would come back to kayo Monroe in two rematches.

There were more victories against the likes of the murderous punching Eugene Cyclone Hart, Bennie Briscoe, Mike Colbert, Kevin Finnegan, and Doug Demmings. Remember, these fights were all before the Marvelous One had won the title. 

In fact, it wasn’t until his 55th bout that Hagler finally got a shot at the title only to be the victim of a terrible decision when, after clearly winning over fifteen rounds, the judges called his bout against Vito Antoufermo a draw.

Hagler would have to wait a year before getting another title shot, this time against the new champion Alan Minter. Marvin left nothing to chance by destroying Minter in the third round and finally, finally taking possession of the title.

Marvelous Marvin would successfully defend his title 12 times against the best and only Roberto Duran was able to last the distance with him.

Out of those defenses the one most talked about was his war against Tommy Hearns in which Marvin stopped the Motor City Cobra in the third round of one of the most exciting fights in history.

After that fight Hagler would make one more defense of the title before his showdown with Sugar Ray Leonard in 1987. It is that fight against John “The Beast” Mugabi that has somehow become lost when talk of Marvin’s career comes up. That is a shame because it very well may have been his finest hour. It also may give some clues to why Marvin fought the way he did against Leonard.

John Mugabi, from Uganda fighting out of England, was a natural boxer/puncher. He had incredible power in both hands and was also blessed with a chin made out of iron. He had earned a shot at Halger by beating a number of other up and coming middleweights and doing so in impressive style, knocking out all 25 of his opponents.

The fight took place on March 10, 1986 outdoors on a cool evening in Las Vegas. While Mugabi did not have anything matching Marvin’s experience, he did enter the ring with intense confidence and showed no fear of Hagler. 

It was just short of a year after Hagler’s war with Hearns and from the opening bell looked very much like it would be a repeat of that fight as Mugabi came out throwing bombs. There was one difference though, The Beast could also take the best Marvin had to offer and the grueling match went on for 11 rounds. While there were moments when the intensity would ebb just a bit, this was all out war.

I had seen just about all of Hagler’s fights going back to his amateur days and had never seen him rocked the way he was against Mugabi. The two traded monstrous punches round after round with Marvin staying ahead but at the same time absorbing some unbelievable blows. You saw two things in this fight that were very rare in a Hagler bout; Marvin’s head snapping back from the force of the uppercuts Mugabi was landing, and Hagler being forced to give ground. Also, Marvin’s left eye was almost completely closed by the end of the fight. But, as the saying goes, you should have seen the other guy. 

This was like an extended version of the Hagler/Herans fight.

While all rounds of the fight were exciting, it was the 6th that really stands out. In that round Hagler came out determined to end matters, and it appeared he would do just that as he unloaded with brutal blows to Mugabi’s chin. The Beast was rocked, he was forced back, he looked on the verge of crumbling, but then he came back to life and was rocking Halger with bombs of his own. The crowd was on its feet cheering as the round ended. After that it became a battle of attrition. 

Marvin was relentless in the fashion of Rocky Marciano. He wore Mugabi down and by the 11th round the effects of the punches and exhaustion put Mugabi down for the count. Marvin had dug down and showed what a champion is made of. Hagler survived punches that would have sunk a battle ship yet never was discouraged. Mugabi took monster shots from Hagler and kept coming. This was like an extended version of the Hagler/Herans fight. 

Marvin would next fight Ray Leonard who had said he saw something in the Mugabi fight that told him he could beat Marvin. He felt he could outbox him after that night.

Going into the Leonard fight Marvin was coming off two brutal wars; The battle with Hearns and the war with Mugabi. Hagler had no easy touch in between, but then again, nothing ever was easy for Hagler. 

I have always thought Marvin made a tactical mistake in the Leonard fight by not pressing Ray early. He allowed Leonard to get a rhythm and to gain confidence in the early rounds. I believe that Hagler, having just had two brutal wars, wanted to show the public he could outbox Leonard, beat him at his own game. I think if he had shown the same intensity he had displayed against Hearns and Mugabi he would have stopped Leonard. I still think Marvin deserved the decision in the fight, but once again, he couldn’t catch a break.

I do know one thing. Marvelous Marvin Hagler showed just why he was a great champion the night he stopped John Mugabi. He not only showed his talent, conditioning, punching power, and indestructible chin, he showed that indomitable “will to win” that makes for a very great champion. Marvin ranks high on the list of all time greats, and he earned that designation the hard way. We will never again see the likes of a Marvelous Marvin Hagler. 
https://youtu.be/G9GHqkinLsA
Complete Fight:

Oh What A Night With “Jersey Boys” In Ogunquit

Jersey Boys

At The Ogunquit Playhouse

Through October 28

The Ogunquit Playhouse

Ogunquit, Maine

ogunquitplayhouse.org 

207-646-5511 

Reviewed by Bobby Franklin

Photo credit: Gary Ng

Jersey Boys debuted in 2005 and was an immediate hit. I am probably one of the few people who had not seen it before taking it in at the Ogunquit Playhouse the other night. As the old saying goes “Good things come to those who wait”, and what I witnessed was beyond good.

Of course, being of a certain age, I was very familiar with the music of the Four Seasons. Their unique sound was something I grew up with and have never tired of hearing. That music is all included in Jersey Boys, along with the very interesting, and very 1950’s, story of how the group came to be. It is a story that takes us from the street corners of New Jersey to clubs, bowling alleys, the back seats of cars, recording studios, and the Brill Building. Disc jockeys, gangsters, loan sharks, and record producers are all part of the story. 

Director Holly-Anne Palmer points out in the program that a Rashomon approach is taken to telling the story, with each member of the group taking a turn giving their version of events. The segments where each member takes over the narration are divided by season, with wisecracking Tommy DiVito (Matt Magnusson) starting things off in Spring. He is followed by song writer Bob Gaudio (Andy Christopher) in Summer, Nick Massi (Matthew Amira) bringing us Fall, and Frankie Castelluccio, make that Frankie Valli (Jonathan Mousset) ending with Winter. Each actor brings us the differing personalities of the four members of the group along with the varying views of events each had. It makes for a fascinating story, or perhaps I should say stories.

While the tale of the four young men from New Jersey who escaped from a criminal past and dealt with financial troubles, conflicts among themselves, and family tragedy, is told with much depth, emotion, and humor by these fine performers, it is the music that evokes a tremendous audience response. No, this is not a tribute band performance, and don’t get me wrong, the story is a major part of what makes this so good to see. The songs contain even more power when enhanced by learning how it all came to be.

I was very much taken with the constant energy displayed during the production. Set changes happened without a pause as props were moved on and off the stage without the action skipping a beat.

…a super high energy evening of music and theatre.

Nearly three dozen songs are performed and each one is enhanced by the amazing lighting and framing the production team has put together. The colors are amazing. Neon style signs, wonderful costumes, and terrific choreography add a strong touch of the spectacular to songs such as , Sherry, Big Girls Don’t Cry, Walk Like A Man, and Rag Doll.  Jonathan Mousset really brought the house down with Can’t Take My Eyes Off Of You. In fact, the audience leapt to its feet after many of the numbers during the show. I could feel the anticipation people had before each song began, and their excitement as soon as the first few notes were played. This is a super high energy evening of music and theatre. 

Photo credit: Gary Ng

Jersey Boys brings us back to a different time without getting overly nostalgic or sappy. While the story is predictable, what works here is the way the actors give us the strong insight into each of the character’s personalities. By the end of the play you will have experienced how we all see things through our own individual lens. It is also interesting to see how people with so many differences can still work together to accomplish great things. There was a synergy between the cast and the audience that filled the theater with excitement all evening.

Frankie Valli and The Four Seasons had a very original sound that has held up through the decades. While their music is in the “Golden Oldies” category, there is nothing moldy about it. Listening to it performed live reminded me of just how fresh and original it still is. 

The Ogunquit Playhouse is closing out its 86th season, one of its best, in great form. Jersey Boys is not to be missed. You would be hard pressed to see a better production of this very exciting play anywhere. I do know tickets have been selling strong for this all summer. Fortunately, it runs through October, so you can take advantage of the off season rates if you want to stay in Ogunquit. Fall is a beautiful time in southern Maine.

When it comes to summer in Ogunquit Let’s Hang On To What We’ve Got! And there’s no better way to do that than with Jersey Boys. 

 

When Eddie Ran Into Ingo’s Toonder

Machen vs Johansson Took Place 

60 Years Ago

What Really Happened?

By Bobby Franklin

In 1958 Eddie Machen was the leading contender for the heavyweight championship held by Floyd Patterson. Machen was undefeated and held victories over such men as Joey Maxim (twice), Nino Valdes, Bob Baker, and Tommy Jackson. Of course, having a strong claim to a title shot during the reign of Floyd Patterson was a sure way of never receiving one. The leading contenders of the day were routinely bypassed in favor of inferior opposition.

While the top contenders included men named Liston, Valdes, Pastrano, and Folley, Patterson’s manager Cus D’Amato opted instead for bouts with the likes of unranked Roy Harris, Pete Rademacher (he was making his pro debut in his title shot), Brian London (whose ticket to Floyd was a loss to a young Henry Cooper), and Tommy Jackson (Floyd had already defeated him before becoming champion). It was truly a dark time for the heavyweight championship. 

Meanwhile, over in Sweden a young star was making some waves. His name was Ingemar Johansson and he was undefeated. Ingo was scoring knockouts with a lethal right hand that was known as “Ingo’s Toonder”. His record was impressive but not his opposition. He had won the European Heavyweight Championship when he kayoed Franco Cavicchi in the 13th round. 

His other notable wins were a 10 round decision over Brit Joe Bygraves, a one round kayo of Hein Ten Hoff, a 5th round knockout of Henry Cooper, and a decision win over American Archie McBride. None of these opponents were near the quality of Machen, Liston, or Folley. Also, Ingemar had not been seen by fans in the U.S., so he was truly an unknown quantity. On top of this, ever since Tommy Farr had given Joe Louis a very tough go of it in his title challenge, European Heavyweights had not been taken seriously.

What happens next in the heavyweight division is something that is worth looking into. It is 1958 and we have Eddie Machen as the top contender. He is undefeated in 24 fights with 15 knockouts. In any other era he would have received a well deserved title shot. But the title is now controlled by D’Amato and he is having nothing to do with signing Floyd to fight a serious opponent. Machen now signs to fight number two contender Zora Folley, another deserving contender. The two fight to a draw. Meanwhile, Patterson bypasses both men and takes on Harris and London instead. A disgrace.

After the Folley fight Machen is offered a match against Ingemar Johansson in Sweden. The fight doesn’t make any sense for Eddie other than it would be a decent payday, but number one contenders do not look for decent paydays, as the ultimate payday is winning the crown. Why would he take on an unknown quantity such as Johansson in Ingo’s home town and risk everything, while having nothing to gain?

For years it was thought Machen took a dive in the fight. When I was young that was the word among all the knowledgable fight people. The story was that D’Amato’s people, and he had some very shady people around him, had told Machen that if he lost to Johansson they would guarantee him a title shot later on. This was not unprecedented. Jake LaMotta had agreed to such a deal when he fought Billy Fox. He threw the fight and did get a title shot in return.

Why would D’Amato want Ingo to win? In Ingo he saw the potential for a big draw with little risk of Floyd losing. He had heard Johansson was another slow moving European heavyweight who would pose no threat to Floyd. His undefeated record would make good copy for publicity, and a win over Machen would give him number one contender status, a status none of Floyd’s previous challengers had ever come near to having.

The story gets really interesting here. Machen travels to Gothenburg and is knocked out in one round. Word in the States is Eddie took a dive. Movies of the fight were not distributed here so the rumors were easy to believe. It wasn’t until decades later that footage of the bout made its way to the U.S. 

Looking at the film you see that not only did Ingemar legitimately kayo Machen, he nearly killed him. At the opening bell both fighters came out tentatively. Machen was standing straight up in a classic boxer’s stance throwing left jabs. Johansson was moving very quickly on his feet and circling Eddie while pawing with his left jab. About a minute into the fight, Ingo landed a tremendous right hand that dropped Machen. Eddie struggled to his feet and was dropped again by an Ingo right. He went down hard but managed to get to his feet. The fight should have been stopped here, but the “courageous” referee let it continue. Machen was driven to a corner and sank half way down while Johansson pummeled him mercilessly. The referee stood idly by. Finally, Machen fell to the canvas unconscious. It was as brutal a knock out as you will see. 

It looks as if this proves the fight was not fixed, right? Well, no. The fight could have been fixed and at the same time Johansson could have legitimately knocked out Machen. You see, Eddie would have been planning on losing a ten round decision. He would fulfill his end of the bargain and eventually get a title shot, though I very much doubt that would have happened. At the same time, Ingo proved to be much better than anyone believed and he was too much for Machen. His Toonder was the real thing. It ends up Machen ws knocked out before he could throw the fight.

Now, another question arises. If D’Amato was so hell bent on avoiding serious competition for Floyd, why would he now agree to have him defend against Johansson? Not only did Ingemar prove he could fight, he also showed he had one of the hardest right hands in heavyweight history. Cus would have taken Floyd and run for the hills to get away from him. If things had followed their usual M.O. it would have been Machen who would have been more likely to get a title shot after having been destroyed.

I believe D’Amato never saw a film of the Machen v Johansson bout. He believed Machen lost as planned, though made his exit sooner than expected, and still figured Ingemar was an inferior opponent. Looking at how Cus managed Patterson it makes no sense he would have signed to fight Johasson after what he did to Machen. This was one time when Cus outsmarted himself, as Ingo took the title from Floyd in his next fight. Not only did he win the title but he destroyed Patterson in much the way he did Machen, only in this bout it ended in the third round. 

There is one final question that begs to be answered. If Machen was going to take a dive anyway, why didn’t he just stay down after the first knockdown? That’s easy to answer. Eddie was a pro with tremendous heart. He was seriously hurt when he went down the first time. It is likely he no longer knew where he was and began fighting on instinct, and his instincts were those of a courageous fighter. If you look at the film of the fight you will see Machen sitting in his corner after being stopped. He is seen mouthing the words “What Happened?” When his seconds respond you can read his lips again and see him saying “Really?”

And what did really happen? We’ll never know for sure, but I think the evidence backs up my theory.

The Roommate Featuring Adrianne Krstansky and Paula Plum Opens At The Lyric Stage October 19

Written By Jen Silverman and Directed By Spiro Veloudos

Runs Through November 18

Paula Plum and Adrianne Krstansky

Sharon, middle-aged and recently divorced, needs a roommate to share her Iowa home.  Robyn needs a place to hide and a chance to start over.  But as Sharon begins to uncover Robyn’s secrets while sharing music, books, and an occasional toke, she discovers a deep-seated desire to transform her own life completely.

It’s a subversive, absorbing comedy about what it takes to re-route your life –and what happens when the wheels come off.

Written by Jen Silverman, this production is directed by Spiro Veloudos. 

The Roommate runs from October 19 through November 4.

Lyric stage, 140 Clarendon Street, Copley Square, Boston

Box Office: 617.585.5678

lyricstage.com 

Broadway Legend Chita Rivera To Appear At  Huntington Theater’s  Calderwood Pavillon 

One Night Only

October 13

Chita Rivera

Three-time Tony Award-winning actress, singer, and dancer Chita Rivera performs for one night only alongside music director and host Seth Rudetsky on Saturday, October 13 at the Calderwood Pavilion at the BCA at 5pm and 8pm.  Produced by Mark Cortale Productions, the performance is the first in the new “Broadway @ the Huntington” series.

The show is an unscripted mixture of music and intimate, behind-the-scenes tales of Ms. Rivera’s career, prompted by questions from Mr. Rudetsky, who hosts “Seth’s Big Fat Broadway” and “Seth Speaks” on Sirius/XM Satellite Radio’s “On Broadway” channel.

Ms. Rivera will perform hits from her vast musical theatre repertoire, which includes originating the roles of Anita in West Side Story (prem. 1957), Rose Grant in Bye Bye Birdie (1960), and Velma Kelly in Chicago (1975).  She also has appeared in Broadway productions of Can-Can (1953), Bajour (1964), Merlin (1983), Jerry’s Girls (1985), and Nine (2003), as well as her autobiographical show Chita Rivera: The Dancer’s Life (2005).  Ms. Rivera earned 10 Tony Award nominations and won Tony Awards for her performances in The Rink (prem. 1984) and Kiss of the Spider Woman (1993).  She most recently originated the role of Claire and was nominated for a Tony Award in the Kander-Ebb-McNally musical The Visit, which premiered on Broadway in 2015.  Ms. Rivera received the Lifetime Achievement Tony Award in 2018 and the Presidential Medal of Freedom from President Barack Obama in 2009.

Chita Rivera and Seth Rudetsky

“I’m delighted to welcome Chita Rivera, a true Broadway legend, to the Huntington,” says Artistic Director Peter DuBois. “Her career spans the modern Broadway history, and she has created so many iconic roles in the musical canon. This show is a once-in-a-lifetime chance to hear theatre history from a woman who, quite literally, helped make it.”

Saturday, October 13, 2018 at 5pm and 8pm

The Huntington’s Calderwood Pavilion at the Boston Center for the Arts , 527 Tremont Street, Boston

huntingtontheatre.org

 617 266 0800

Huntington Theatre Box Office, 264 Huntington Ave. and the Calderwood Pavilion at the BCA Box Office, 527 Tremont St.

“Between Riverside and Crazy” Life As A Poker Game

At The SpeakEasy Stage

Reviewed by Bobby Franklin

Octavia Chavez-Richmond, Tyrees Allen, and Lewis D. Wheeler
Photo Credit: Nile Scott Studios

Walter “Pops” Washington (Tyrees Allen) is a former N.Y. City police officer who is living in a rent controlled apartment. He is no longer on the force because he was shot six times by a rookie cop. The shooting took place at an after hours bar when Pops was off duty. Pops is black, the cop who shot him is white.

Between Riverside and Crazy by Stephen Adly Guirgiis does not fit into a narrative of a racist white cop shooting a black man. It gets much more complicated as the story moves along. Pops is sharing his apartment with his son Junior (Stewart Evan Smith), an ex con who is trying to turn his life around, though it appears he may still be a bit stuck in his old ways. Along with Junior is his girlfriend Lulu (Octavia Chavez-Richmond), who is pregnant and might be working as a prostitute, and Oswaldo (Alejandro Simoes), a friend of Junior’s who has been doing his best to stay clean and sober. 

Alejandro Simoes, Stewart Evan Smith, and Tyrees Allen
Photo: Nile Scott Studios

While the relationship between Junior and Pops is strained, Oswaldo appears to understand the cantankerous Pops and the opening dialog between the two is both funny and revealing. The elder Washington displays a degree of bitterness as he spends most of his days sipping whiskey. He is not only angry about having been shot, but also over the loss of his wife who died after a long illness. He spends time sitting in her wheelchair and you can see that he’s also dealing with the guilt of not having been the ideal husband. 

He filed a law suit against the city eight years earlier and is seeking $5 million dollars in damages, but the city has not settled because of the circumstances of the shooting, which we learn more about as the play progresses. He is also receiving eviction notices.

As I said, this is not a play about police shootings. It is about how people play the game and play a bit fast with the truth to get what they want. While at times it seems underhanded, it never really goes over the top. How the rules are bent is in the eye of the beholder. 

It is also a play about relationships. Pops finds it difficult to show affection to Junior, while he is  more comfortable getting closer to Oswaldo and Lulu, both of whom he shows much empathy to.

Pops former partner Detective O’Connor (Maureen Keiller) and a Lieutenant Caro (Lewis D. Miller) visit Pops for dinner one evening. It doesn’t take long to realize there is an ulterior motive for the meeting as Caro attempts to get Pops to agree to a deal with the city. The smarmy Caro, the smarminess is overplayed here, is not so much looking out for Pops as he is advancing his own career by helping the city put this lawsuit behind them. Pops, as well as the audience, quickly sees through this game. 

There are a number of other stories playing around all of this including Junior’s relationship with Lulu as well as how he seeks to receive words of affection from Pops, Oswaldo’s own issues with his father and his set back with staying clean. All are interesting, but I found a certain depth lacking in the way these stories are portrayed. While good, I thought there was so much to work with here that was left not fully developed.

There are two scenes where things seemed to really catch fire. When tempers flare between Pops and Caro over settling the lawsuit, it appears things are really going to get moving. It is a powerful scene, but the action fades shortly thereafter.  It does regain steam later, but it felt to me like momentum was lost.

Celeste Oliva and Tyrees Allen
Photo: Nile Scott Studios

The other scene is when the Brazilian Church Lady (Celeste Oliva)  comes to visit Pops. She is filling in for another caregiver, and like many of the characters in the play, is looking to get something for herself. It is quite the perfomance, both steamy and funny, Ms Oliva plays it outstandingly. Its a scene you will not forget.

Towards the end of the play Pops finds out Lieutenant Caro likes to play poker, and this is when we see how much of what is going on is like a giant poker game, with each player looking at his cards and seeing just how much he can bluff.

The play ends on an interesting note as the characters are pretty much revealed and while we may be tempted to judge some, if not all of them, harshly, just think about how you may have acted if you were in any of their positions.

Yes, I think this play could have been better, but it is definitely worth seeing. Tyrees Allen’s portrayal of Pops is a pleasure to watch. His humor, his anger, his human weaknesses, and his quest to find what he considers justice is well served in the hands of Mr. Tyrees, who does a wonderful job in the role. You’ll feel much the way Junior does when watching him. He will aggravate you, frustrate you, anger you, but you won’t be able to resist liking him.

I would also like to say that Alejandro Simoes is touching as Oswaldo. It is heartbreaking to see how bad things engulf good people. You will be rooting for him to make it and overcome the demons in his life. People make bad choices, but that doesn’t mean they are bad people. Smith’s Oswaldo shows us that. 

I would recommend not approaching this play as a commentary on the ills of society, but rather to look at it through  more personal lens. I believe in doing so, you will develop a more sympathetic view of people who play life’s poker game while keeping a few cards up their sleeves.

 Just a note for those considering taking children to this play. It has much adult language and situations.

Between Riverside and Crazy

By Stephen Adly Gurgis, Directed by Tiffany Nichole Greene

At The SpeakEasy Stage Company, Calderwood Pavillon, 527 Tremont Street, South End, Boston.

Through October 13

speakeasystage.com 

617.933.8600 

Was There Almost A Rocky 2.0?

Marciano Considered Coming Back To Fight

Ingemar Johansson in 1959

Was He Serious?

By Bobby Franklin

On September 22, 1955 Rocky Marciano stepped into the ring to defend his title in Yankee Stadium against the great Archie Moore. It was a bruising fight with Moore dropping the Champion in the second round, but Rocky eventually wore down his cagey opponent and stopped him in the 9th round. While the fight was one sided in the scoring up until the stoppage, it was by no means an easy fight for the Rock. Moore was a great boxer and a powerful puncher, and he landed punches on Marciano that would have flattened other mortals. But Marciano was no mortal when he was in the heat of battle. He seemed to get stronger when he got hit, and his drive and determination were too much for the 49 men he met and defeated in the ring.

This would be Marciano’s last fight, seven months later he would retire citing his desire to spend more time with his wife and daughter. He did leave a slight window open for a return to the ring when he said “No man can say what he will do in the future, but barring poverty, the ring has seen the last of me.”

It is reported that Rocky told those close to him that the real reason for his retirement was his displeasure with his manager Al Weill and the way his money was being handled. Rocky believed he was being taking advantage of and wanted out.

I was speaking with Mike Silver, the author of The Arc of Boxing, and we both agreed that while both of these reasons are legitimate we felt that Marciano may have finally tired of the grind of training and the pain he had to go through in each of his fights. Again, while the Moore bout may have seemed one sided in the scoring, Rocky took some terrible blows in the fight and had to be feeling the effects for days afterwards. The Champ was not a stupid man and may have figured it was best to get out while he still had his faculties, a decision, sadly, too few fighters make, and one that he should be admired for.

Rocky went on to enjoy retired life, and with only a bit of a tease when he pretended to consider a comeback when made an offer by promoter Jim Norris about a year after the his retirement, he looked to be permanently out of the ring. 

Rocky Marciano Training For a Comeback In 1959

Recently, I got to view some photos of Marciano that were taken in 1959. They show a healthy but bit pudgy former champ hitting a heavy bag under the watchful eye of his trainer Charley Goldman. Was this some type of a publicity stunt? I called the expert, my friend Dan Cuoco of IBRO to ask what he knew about this. He told me that Rocky had indeed contemplated a comeback in 1959. It was to be a one bout deal for in excess of a million dollars, and he would challenge Ingemar Johansson for the title. So, what happened?

There hasn’t been a lot written about this subject, but it does appear the former champion trained for about a month in Florida and that these sessions did receive coverage. Dan sent me a copy of an item that appeared in the Boston Traveler on January 16, 1960. In the short piece penned by Bill Liston, he states that he has heard that Marciano is training for a comeback but hopes it doesn’t happen. Though he believes Rocky would have no problem dispatching the new Champion he thinks Rocky should leave well enough alone. He also theorizes that Marciano was doing this to enhance his marketability for public appearances and refereeing. 

Charley Goldman Tapes Rocky’s Hands

Others have said he was serious about fighting Johansson and only gave up on it when his back, a life long problem he had, started giving him trouble. Mike Silver told me Rocky had met the Swede and felt he would have no problem taking him. I can see how tempting the thought must have been to Marciano. Here he would stand to make over a million dollars, hit the magic 50 and 0 mark on his record, and be on top of the world again. However, Ingo lost the title back to Floyd Patterson and that would lead to a third match between the two, and another year gone by before a bout with Marciano could be negotiated, another good reason not to keep at it.

I think the real reason is a combination of the two theories. There had to be no doubt in Rocky’s mind that he could beat Johansson and he had to have thought seriously, even if just briefly, about taking him on. He also saw how this enhanced his image as so many great athletes are forgotten not long after they leave the spotlight. By doing this, Rocky was able to keep his legend alive and his name in the news. he would go on to host a popular television show and continue to be in demand for public appearances.  In a second item sent to me by Mr. Cuoco, an AP story dated January 15, 1961, once again Marciano teased the public a bit about a possible comeback. When asked about how he would do against Liston or Patterson Rocky states “ I’m not the boasting type, I don’t want to say I could whip them. But then I don’t want to lie about it either.” He seemed to be enjoying tantalizing his fans with the thought they could see him in the ring again.

Rocky would eventually return to the ring in a futuristic and bit eerie way. The Rock and Muhammad Ali sparred a number of rounds together and the footage of that sparring was pieced together to make a computer created match that was shown in theatres across the country. The sparring was filmed in 1969, just a few months before Rocky’s untimely death in a plane crash. It was shown in 1970. It is strange that Marciano’s comeback, such as it was, would happen after his death. The computer had the Rock winning by knock out in the 13th round.

This article first appeared in the Boston Post Gazette on March 20, 2015 in slightly different form.

A Boy Named Hamnet

Hamnet

Arts Emerson

Through October 7

Emerson Paramount Center

Boston

artsemerson.org 

Reviewed by Bobby Franklin

Photo by Gianmarco Bresadola

The U.S. premiere of Dead Centre’s  Hamnet now playing at the Emerson Paramount Centre in Boston is a powerful 60 minutes of theatre. The multi media production brings us into the world, past and present, of Shakespeare’s only son Hamnet who died at the age of 11. The work is an original, creative, and very interesting look at the relationship between a father and son, and the effect that relationship, or lack of, has on the mind and emotions of a young boy.

I say past and present as the ghost of Hamnet fills the theater in what could be seen as a mix of Hamlet and Waiting For Godot. Ollie West plays the title character who brings us into his world as he deals with the struggle to understand his relationship, or lack of, with his famous father whom he barely knew. Young West is first seen live with a knapsack projected onto a large screen as he makes his way from the audience onto the stage. The screen and the projections on it will be used to incredible effect throughout the performance.

Photos by Gianmarco Bresadola

We learn right off this isn’t going to be a historical work, but instead a metaphysical exploration. While bouncing a ball off the screen Hamnet tries to explain, with the use of Google, the theory of quantum tunneling. He admits he has no idea what it means but assure us if his father were there he would know.

What’s in a name? A lot when your father is William Shakespeare. But it is not the name Shakespeare that troubles him. Hamnet is aware that his name today is most often seen as a typo, and he is trying to measure his self worth. Hamnet has many questions and turns to the audience and Google for answers. But as Vladimir and Estragon find in Godot, often times there simply are no answers. 

“Why would anyone chose not to be?” is one of those questions, and in the remarkable scene where he gets to face his father he asks that, and many others. The scene is done with the senior Shakespeare appearing on the screen with his son. Hamnet is seen both on the screen as well as on the stage itself at the same time. Shakespeare is  with him on the screen throughout most of this time, giving it a  Banquo’s ghost flavor. I’m not sure how all of this was done, but it is amazing to watch. The fact that there is a bit of the handy dandy to it does not diminish how powerful the dialog between father and son is. Whether you see the work of Shakespeare in this conversation, or Beckett, or even Bart Simpson, you will be touched by it. Can fathers and sons ever understand each other? Here, they do try, but it is emotional and awkward for them. 

Photo by Gianmarco Bresadola

Using the relationship between Hamnet and Will Shakespeare to explore so many questions does not limit us to just these two people. It speaks to all of us, and it will leave you with more questions than answers, but also with more understanding.

Ollie West, who is simply outstanding as Hamnet, will be replaced by Aran Murphy midway through this run. I highly recommend you take in this amazing production. I would even go as far as saying it would be worth seeing a second time when the cast change is made. 

 

John Douglas Thompson To Play Emile Griffith In Boston Production

“Man In The Ring”

The Story Of Boxing Champion

Emile Griffith To Open 

At The Huntington 

John Douglas Thompson

In exciting news for both boxing and theatre fans, the Huntington Theatre Company production of Man In The Ring will be opening at the Calderwood Pavilion at the Boston Center for the Arts on November 16. The play, written by Pulitzer Prize winner Michael Cristofer, will run through December 22. Man In The Ring chronicles the life of former Welterweight and Middleweight Champion Emile Griffith. 

Griffith’s story will span the time of his humble beginnings in the Virgin Islands, his love affairs, and the tragedy in the ring that forever changed his life. It its a complex story that is both touching and tragic.

I am very excited to hear that John Douglas Thompson has been cast in the role Emile Griffith as an older man. Mr. Douglas is one of the best actors on stage today, and I had the pleasure of seeing him in the world premiere of Terry Teachout’s Satchmo at the Waldorf n 2012. He was simply phenomenal that night. Most recently, he played Starkeeper in the Broadway production of Carousel. It will be interesting to see him play Griffith as an older man who if suffering from the effects of his years in the ring as well as the emotional turmoil from the Benny Paret fight.  

Kyle Vincent Terry

Kyle Vincent Terry will be playing the younger Griffith. Mr. Terry served as fight choreographer for The Royale which I saw last year at the Merrimack Repertory Theatre. The fight scenes in that production were very creative and well done. It is a challenge to create what happens in a boxing ring onto a stage, and Mr. Terry work was quite impressive.

Playwright Michael Cristofer won the Tony Award and Pulitzer Prize for his 1977 play The Shadow Box. In his script for Man In The Ring, Mr. Cristofer explores Emile Griffith’s struggle with his homosexuality which was an open secret in the boxing world during his career. Benny Paret’s taunts of Griffith before their tragic fight have always been thought to have contributed to Emile’s fire in the ring that night.

“Emile Griffith was a true hero in my book”, says Cristofer. “He was a young immigrant form the Virgin Islands and a man struggling with his identity while in a brutal sport who, as an older man slipping into dementia, worked to find peace amid the love, pain, and joy that was his life.”

Emile Griffith

Huntington Artistic Director Peter DuBois says “One of the hardest things to do in theatre is to tell the full story of a complex person’s life. Michael Cristofer beautifully captures the excessive, eccentric, and emotional parts of Emile’s amazing story by mixing the champ’s easy charm with the raw and traumatic things he experienced.”

The cast also includes Victor Almanzer as Luis, Griffith’s lover and later his caretaker, Starla Benford as Griffith’s mother Emelda, Krystal Joy Brown as his wife Sadie, Gordon Clapp as manager Howie Albert. Sean Boyce Johnson is cast as Benny “Kid” Paret with Carla Martinez playing his wife Lucia. Eliseo Sosa will play Paret’s manager Manuel Alfaro. 

Man In The Ring will be directed by multiple Tony Award  nominee Michael Greif. Michael McElroy is the music director and composer of incidental music. 

Man In The Ring

Huntington Theater Company

Playing at the Calderwood Pavilion, Boston Center For The Arts

527 Tremont Street, Boston 

November 16 through December 22, 2018

huntingtontheatre.org

617.266.0800

The Night Rocky Cried

Louis vs Marciano

By Bobby Franklin

Rocky Marciano cried the night he knocked out Joe Louis. Louis had retried in 1948 after defending his title against Jersey Joe Walcott. Joe stopped Walcott in the 11th round. Seven months earlier Louis had won a controversial 15 round decision from Jersey Joe, so winning decisively was a great way to cap off his career and make a dignified exit. 

Unfortunately, money problems forced Louis to embark on a comeback. He had a huge outstanding debt with the IRS, and the only way he knew how to make money was by stepping back into the ring. His first bout back after a two year layoff was against Ezzard Charles in an effort to regain the crown now held by the Cincinnati Cobra. After 15 brutal rounds Charles prevailed by earning a unanimous decision.

That fight did not earn Joe the money he needed to pay off his debts, so he continued fighting in the hope of getting another shot at the title. Louis fought often over the next year engaging in 8 fights with 8 wins. He still flashed signs of greatness, but it was clear his reflexes had slowed. At 36 years of age and after a lifetime of hard training his body was just worn down. On top of this, even with fighting so often, he could not earn enough money to pay off his debt. The interest kept compounding, and he was up against a tide that would not recede. 

His bout against Rocky Marciano, which took place on October 26, 1951, was a classic match of the young up and coming star versus the fading veteran. It’s a script that has played out many times, but in this case it was cloaked in sadness. Joe Louis was well loved by the public. Everyone knew that he would rather have been enjoying a richly deserved retirement but had no choice other than to fight. So it came to be that a man who was arguably the greatest heavyweight who ever lived would face a future great.

Even after all of these years it is still painful to watch the footage of that October night 67 years ago at Madison Square Garden.

Even after all of these years it is still painful to watch the footage of that October night 67 years ago at Madison Square Garden. Louis, now 37 years of age, entered the ring a 6 to 5 betting favorite against the unbeaten Brockton Blockbuster. Many felt experience would win out over youth, but the years had caught up to Joe.

When the bell rang for the first round a balding Joe Louis moved out in his classic stance. Rocky came out very aggressively and won the first two rounds big, landing numerous overhand rights that Joe just could not avoid. He had not been hit like this since his first fight against Max Schmeling in 1936, 15 years earlier. 

It is a testament to Louis’s championship heart that he was able to become competitive against his younger opponent when he won the 4th and 5th rounds. Even though he took those rounds it was obvious he was a shadow of his old self. He was throwing combinations but his punches were not firing off like they used to. It was taking just that much longer for his body to respond to what his brain was telling it. While Joe outweighed Rocky by nearly thirty pounds he could not keep the younger man off of him. The fifth round would be the last round Joe would win in his career.

In the sixth round you can see how Joe’s legs appeared stiff. He lost the bend in his knees and could not move away from Rocky. There was no spring in his legs. At this point he began to take an awful beating. Rocky was landing rights to the head while punishing Joe’s body. It was just a matter of time before the end.  Suddenly, Joe became an old man. Boxing is a cruel sport where old age strikes early.

When the bell rang for the 8th round an exhausted and bruised Louis stepped forward slowly. He was not only worn out from the blows of Marciano, but also from the years of fighting and training. Louis had been fighting professionally since 1934 and as an amateur before that. He had always trained hard and he had fought often, only taking time out to serve his country during WW II. He had never failed to give his all and was doing it again on this night. However, his tank was now empty and his opponent was relentless.

About a minute and a half into the round Marciano floored Louis with a short and powerful left hook. Louis stayed on one knee while taking an eight count. When Joe rose Rocky went in to end the fight. He backed Louis up to the ropes and landed two left hooks. After the second hook, Louis’s hands dropped to his side and Marciano landed a right that drove Louis down and through the ropes. As he landed on his back members of the press sitting at ringside reached up to help him. You can see the look of sadness on their faces. A police officer jumped onto the ring apron. Cornermen and the ring doctor rushed to him and made a protective circle around the fallen champ. There was a sudden outpouring of grief that can still be felt while watching the old black and white footage. The scene made me think of a line from Shakespeare’s Richard II, “For God’s sake, let us sit upon the ground and tell sad tales of the death of kings”. 

As you look at Rocky’s face as they announce him the victor, you see no joy. It has been reported Marciano wept in his dressing room. He said to Louis, “I’m sorry Joe”. Joe responded “What’s the use of crying? The better man won. I guess everything happens for the best.”

Joe Louis would retire for good after this fight, but his financial problems continued. He turned to professional wrestling for a time and did some refereeing. He eventually ended up working as a greeter in Las Vegas. While his life didn’t turn out the way it should have, he never lost the love and admiration of the American people. He was buried in Arlington National Cemetery, a fitting tribute to a man who gave so much to his country.

Rocky Marciano went on to win the championship and retired undefeated. The Rock remained retired, being one of the few who was not lured back into the ring. Tragically, he died in a plane crash in 1969 at the age of 45.

Joe Louis and Rocky Marciano were two of the greatest heavyweight champions. Both displayed class and dignity in and out of the ring. That class was displayed by each man when they met in the ring. If you want a lesson in how to be a good winner, how to be a good loser, just follow their example.

SpeakEasy Stage To Present the Boston Regional Theatre Premiere of the 2015 Tony Award-winning Musical FUN HOME  

Runs October 19 Through November 24 At The Calderwood Pavilion

FUN HOME will run from October 19 through November 24 at the Calderwood Pavillon, 527 Tremont Street in Boston’s South End. Featuring music by Tony Award winner Jeanine Tesori and a book and lyrics by Tony Award winner Lisa Kron, FUN HOME is a landmark musical about seeing one’s parents through grown-up eyes. Based on Ms. Bechdel’s best-selling memoir of the same name, this groundbreaking musical introduces us to Alison at three different ages, revealing memories that celebrate the curiosity of childhood, the challenges of coming out, and the complexities of family.

     SpeakEasy Founder and Producing Artistic Director Paul Daigneault will direct this production of FUN HOME. Winner of three Elliot Norton Awards including the 2014 Norton Prize for Sustained Excellence, Mr. Daigneault had directed dozens of Boston premieres, including the company’s recent productions of The Scottsboro Boys, The Curious Incident of the Dog in the Night-Time, and Allegiance. 

     The artistic team also includes IRNE Award-winning Music Director Matthew Stern and Choreographer Sarah Crane. 

     Amy Jo Jackson (Alison), Ellie van Amerongen (Medium Alison) and Marisa Simeqi (Small Alison) will play Ms. Bechdel at different ages in this compelling musical.  Also in the cast are Laura Marie Duncan, Luke Gold, Desiré Graham, Cameron Levesque, Madi Shaer, Tyler Simahk, and Todd Yard.  

 FUN HOME will run for six weeks, from October 19 through November 24, 2018, in the Roberts Studio Theatre in the Stanford Calderwood Pavilion at the Boston Center for the Arts, 527 Tremont Street in Boston’s South End.

617.933.8600 or visit www.SpeakEasyStage.com .                 

ArtsEmerson Presents “Measure For Measure”

CONTEMPORARY SOCIETY AND SHAKESPEARE’S POLITICAL EPIC COLLIDE IN 

MEASURE FOR MEASURE 

FEATURED AT ARTSEMERSON
BY CHEEK BY JOWL AND THE PUSHKIN THEATRE MOSCOW ——
SIX PERFORMANCES ONLY – OCTOBER 24-28, 2018 EMERSON CUTLER MAJESTIC THEATRE, BOSTON
 

ALEXANDER ARSENTYEV AND ANNA VARDEVANIAN
Photo credit: Johan Persson

Boston’s leading presenter of contemporary world theatre, proudly welcomes Cheek by Jowl (UK) and The Pushkin Theatre Moscow (Russia) with Measure for Measure. This production of Shakespeare’s play by the international award-winning director Declan Donnellan and designer Nick Ormerod asks vital and unsettling questions about how we are governed and, in the process, unmasks the true nature of authority, love and justice. Performed in Russian with English surtitles, The Pushkin Theatre Moscow and Cheek by Jowl will share Shakespeare’s tale through an unsettling dissection of power and shame that is as shocking as it is revelatory. The Times (London) calls the cast of Measure for Measure electrifyingly intense and disturbing that they make your hair stand on end.” Novaya Gazeta calls it “a shattering portrait of contemporary Russia.”

“Throughout our nine seasons, we’ve forged deep connections with Russian artists and narratives as part of our ‘World on Stage’ commitment,” says artistic director David Dower. “Declan Donnellan is similarly rooted in cross cultural exchange; his collaboration with Moscow’s Pushkin Theater is a perfect pairing for us. Donnellan’s visceral, visually audacious staging is stunning and his all-Russian cast is masterful. Shakespeare’s classically ‘problematic play’ suddenly emerges as a fresh, sharp, and emotionally powerful tale of our own problematic times.” 

About Measure for Measure
Shakespeare’s Measure for Measure was written between 1603 and 1604, classified initially as a comedy. However, the production history exemplifies the complex nature of the play, each with a nearly unique perspective. The story takes place in Vienna under Lord Angelo’s iron-fist rule. He revives forgotten laws on morality and sexual license and decides to make an example of Claudio, a young man who has had pre-marital sex with his fiancée, Juliet. Hearing of Claudio’s death sentence, his sister the novitiate Isabella resolves to petition Angelo for her brother’s life. Despite his outward strict moral code, Angelo tells Isabella he will only free her brother if she sacrifices her virginity to him. 

The limited run of only six performances takes place October 24 through 28, 2018 at the Emerson Cutler Majestic Theatre, located at 219 Tremont Street in downtown Boston.

www.ArtsEmerson.org,  617.824.8400, 

Concert by the Forget-Me-Knots will benefit the Struggle with Alzheimer’s

A concert to benefit the Alzheimer’s Foundation will take place Saturday, October 20, 7 p.m. at The Congregational Church in 21 Front Street, Exeter, NH.

The program of music featuring piano, vocalists, woodwind, guitar, and stand-up bass, will be presented by the Forget-Me-Knots.  They are a group of musicians who decided to come together to share their love of music in support of Alzheimer’s. Vocalist Jean Strazdes has performed throughout the world in various operas and currently teaches at Phillips Exeter Academy.  Mary Carol Kennedy is a clinical social worker as well as a woodwind player.  She teaches and performs locally in southern Maine.   Kim Karchenes, pianist, is the Music Director at The Congregational Church in Exeter and the accompanist for several local community choruses.  Bob Daigle is a self-employed environmental consultant.  His true passion is music, which he celebrates through guitar, stand-up bass and voice.

The concert will be a celebration of “memories” through several musical moments   There are many ongoing studies researching the effects of music on the brains of patients struggling with this disease.   Studies have shown that music may provide an opportunity to connect with a patient even when verbal communication has become difficult.

 The Forget-Me-Knots have each been touched by Alzheimer’s and will donate all proceeds collected at the door to The Alzheimer’s Foundation. All donations will be gratefully received. Please come and enjoy a wonderful evening of music in support of this worthy cause.   For more information please contact Kim Karchenes at kkarchenes [at] maine [dot] rr [dot] com.

Visit  https://www.alz.org/help-support/caregiving/daily-care/art-music  to learn more about how music may help with caregiving, the warning signs, the importance of early detection and diagnosis as well as information on care and support.

 

MRT’s Musical-Comedy Whodunit, “Murder for Two”, To Open with Original Star and Co-creator

 At The Merrimack Repertory Theatre From

October 17 through November 11

Joe Kinosian
(Photo Joan Marcus)

Joe Kinosian, the original star and co-creator of the Off-Broadway sensation Murder for Two will lead the Merrimack Repertory Theatre (MRT) cast of the musical-comedy whodunit October 17 – November 11 at the Nancy L. Donahue Theatre at Liberty Hall, according to Artistic Director Sean Daniels and Executive Director Bonnie J. Butkas.

Murder for Two, framed by the authors, Kinosian and Kellen Blair, as The Marx Brothers meet Agatha Christie, will be the second show of MRT’s 40th Anniversary Season and its 264th production since 1979.

“A hilarious musical whodunit,” according to The New Yorker, Murder for Two played Off-Broadway for nearly two years and earned a slew of Drama Desk and Outer Critics Circle awards and nominations. The New York Times called the show, “Ingenious! A snazzy double-act.”

Making his New England debut in the show, Kinosian plays all six of the suspects in the murder mystery, and he will be joined by Martin Landry as the detective in this original musical with book and music by Kinosian and book and lyrics by Blair. JC Clementz will direct.

Part Vaudeville, part murder mystery spoof, Murder for Two features one murder, two actors, six suspects, and one piano, wildly shared by both actors. In the zany story, every guest has a motive. Was it the prima ballerina, the widow, the niece, the psychiatrist, or even the detective? The two actors play 13 roles in the homage to everything from Agatha Christie to “Murder She Wrote” to the board game Clue.

A veteran of more than 700 performances in the role, Kinosian said his grandmother showed him his first Marx Brothers film as preschooler. “Their anarchic combination of intellectual screwball wordplay and physical zaniness has never stopped appealing to me. Like Vaudeville, we definitely wanted to channel that comedically broad ‘anything for a laugh’ approach.”

Kinosian has played the role in a two-year tour of America, as well as in productions in Korea, Japan, England, and China. His New York credits as an actor also include the cult favorite Dear Edwina. His regional theatre credits include The Nerd, An Act of God, and Dirty Blond with Emily Skinner.

Landry’s credits include the national tour of Murder for Two and the Off-Broadway productions of Dragons Love Tacos and Dear Edwina. A longtime affiliate of Steppenwolf Theatre in Chicago, director Clementz lists Irving Berlin’s I Love a Piano and The Devil’s Music: The Life and Blues of Bessie Smith among his credits.

For tickets or information, visit www.mrt.org, or call the Box Office at 978-654-4678.

 

 

NORTH SHORE MUSIC THEATRE PRESENTS THE BIG, FAT, HIT MUSICAL  ‘HAIRSPRAY’

October 30 – November 11, 2018 

Bill Hanney’s award-winning North Shore Music Theatre (NSMT) concludes the 2018 Subscription Season with Broadway’s big, fat, hit musical, HAIRSPRAY, playing for two-weeks only from Tuesday, October 30 thru Sunday, November 11, 2018.

 “I cannot think of more satisfying way to end this record-breaking season than with a bubbly, eye-popping, and powerful production of Hairspray,” said Bill Hanney, NSMT owner and producer. “The final show of the subscription season has to be like a fantastic dessert. It needs to be memorable, put a smile on your face, fill you up, and make you want to come back for more. This hysterical and heartwarming show is a favorite of mine, and with Blake Hammond, Brooke Shapiro and this amazing cast under the direction of Jeff Whiting, I know we have the recipe for success!”

HAIRSPRAY, winner of the 2003 Tony Award for ‘Best Musical,’ is piled bouffant-high with laughter, romance, and infectious musical numbers. Set in Baltimore, 1962, Tracy Turnblad is a big girl with big hair and an even bigger dream: to dance her way onto TV, and into the heart of teen idol Link Larkin. Tracy’s audition makes her a local star and soon she is using her new-found fame to fight for something bigger than her hair – racial integration. HAIRSPRAY is an irresistible, feel-good show with a Tony Award-winning book by Mark O’Donnell and Thomas Meehan and a Tony Award-winning score by Marc Shaiman and Scott Wittman featuring the hit songs “Welcome To The ‘60s,” “You Can’t Stop The Beat,” “Mamma, I’m A Big Girl Now,” “I Know Where I’ve Boon,” and many more.

The cast of HAIRSPRAY will be led by Blake Hammond as Edna Turnblad and Brooke Shapiro as Tracy Turnblad. Blake Hammond is stepping into the role of Edna Turnblad once more having played her in the Broadway company of Hairspray. He has also appeared on Broadway in Living on Love, First Date, Sister Act, Elf, Billy Elliot, The Lion King, The Music Man, Kiss Me Kate, and On The Town. His Off-Broadway credits include When Pigs Fly, Carnival and Do Re Mi at Encores. Other credits include National Tours of Something Rotten, Cinderella, The Addams Family, and Joseph and the Amazing Technicolor Dreamcoat. Brooke Shapiro returns to North Shore Music Theatre where she was last seen as Jan in the 2014 production of Grease. She has performed off-Broadway in My Big Gay Italian Midlife Crisis, The Calico Buffalo, and did the first NYC reading of Love in Hate Nation (a new musical by Joe Iconis). Brooke has also performed in regional theaters across the country including Goodspeed Opera House, Cape Playhouse, Zach Theatre, Florida Studio Theatre, and Gateway Playhouse.

Performances are October 30 thru November 11, Tue – Thurs at 7:30 pm, Fri & Sat at 8 pm, matinees Wed, Sat and Sun at 2 pm. For tickets and information call (978) 232-7200, visit nsmt.org, or visit the box office at 62 Dunham Rd., Beverly, MA.

 

 

Within This Wooden O

Hartford Stage’s 

Henry V 

In The Round

Henry V

Through November 11

The Hartford Stage 

50 Church Street

Hartford CT

www.hartfordstage.org

Reviewed by Bobby Franklin

The cast of Henry V

As the Chorus (Peter Francis James) sets the scene at the opening of Shakespeare’s Henry V now playing at the Hartford Stage, the audience is reminded that what they are about to see is all illusion. He asks that those in the theater use their imagination in order to see the story about to unfold.

Director Elizabeth Williamson has chosen to set this production in the round with very few props and effects. Other than a couple of tables and chairs, a few guns and knives, costumes that are not period specific, subtle lighting, a minimum of sound effects, and a floor that has a map inlaid in it, the rest is left to the actors, the language, and yes, the imagination. And it is Shakespeare’s language in the hands of the actors that makes the story  so vivid. 

Peter Francis James as the Chorus

Peter Francis James fills the theater with anticipation with his exciting opening monologue that invites all who are there to participate in the  events about to unfold. His rich and enthusiastic voice does indeed get the “imaginary forces” working. Throughout the play he returns to carry us along and set the upcoming scenes. It is a pleasure to listen to him.

Henry V is played by Stephen Louis Grush and he faces the challenge of reciting some of the Bard’s most rousing speeches, many of which will be familiar to the audience, such as The St. Crispin’s Day speech before the Battle of Agincourt. His battle cry (Once more unto the breech dear friends…) during the siege of Harfleur is  somewhat drowned out by sound effects at first, which is odd since they are so little used, but is still rousing as the noise fades and the words are heard. Mr. Grush sometimes appears a bit uncomfortable but settles down as he allows the words to flow from his mouth. He will only get better during this run.

Miles Anderson (Pistol)

Miles Anderson as Pistol (he also plays the Bishop of Ely) almost steals the show and his interactions with Nym (Felicity Jones Latta), Bardolph (Liam Craig), and Fleuellen (Baron Vaughn) are comic and touching. The almost knife fight between Nym and Pistol is a memorable scene that had the audience laughing while it revealed the character of the two participants. Mr. Vaughn also takes on the part of Nell Quickly and is campy and quite funny.

Director Willamson’s decision to set this in the round was a wise choice as Henry V fits well into this setting. As the actors turn about the stage addressing each other, they are also speaking to the audience. It adds an intimacy that gives the work more emotional power.

Felicity Jones Latta (Alice), Evelyn Spahr (Katherine)

Watching Katherine (Evelyn Spahr) practicing her English with Alice (Felicity Jones Latta) while moving about the stage is quite charming. Ms Spahr also plays Boy and Lord Scroop. Her Boy is innocent and yet insightful. Her Katherine is tender yet smart.

I feel I must mention Peter Francis James again. Mr. James’s Chorus paces his speeches perfectly and, without overreaching, brings a depth of excitement to the swelling scenes.

Now, since this is Henry V and we are asked to use our imagination, I beg to indulge for just a moment. During the Battle of Agincourt while the sound of machine guns were used for effect, my mind went to the swoosh of arrows being let loose from the long bows that were so effectively used to defeat the French. I think it would have been very effective here as well.

I make it a point to travel to the Hartford Stage each year to see their productions of the works of William Shakespeare. They are among the best staged anywhere. While this year’s work is a bit uneven, I thought the scenes in the French Court were stiff, it is still a worthy production not to be missed. 

Liam Craig (Bardolph), Felicity Jones Latta (Nym)

If you are among those who sometimes believe William Shakespeare wrote in a foreign language, lay your fears aside. While the text is untouched, the focus given the words and the clarity with which they are spoken here will leave you fully engaged. This is an excellent reason to make the trip to Hartford. You will leave the theatre feeling comfortable with the language of Shakespeare and glad you have seen these few, these happy few perform. 

All photos by T. Charles Erickson

BOXING’S FIVE DECADE MEN

BOXING’S FIVE DECADE MEN  

By

Mike Silver   

    

Barkley vs Duran

A few weeks ago I had the good fortune to meet up with the great Roberto Duran. The legendary four division world champion was the guest of honor at the annual Ring 10 Veteran Boxers Association benefit. It was a rare public appearance for the now 67 year old warrior. Yes, 67! As expected, Duran’s presence electrified the 400 plus fans in attendance. 

      The fighter nicknamed “Manos de Piedre” (Hands of Stone) engaged in 119 bouts and knocked out 70 opponents. While those stats are indeed impressive (especially the number of knockouts) they are not unique. Boxers who accumulated 100 or more bouts were quite common during the first half of the twentieth century. In addition, 55 other pro boxers have knocked out 70 or more opponents. But, in spite of that, Roberto Duran’s record stands out for another reason that very few can match: He is one of only three boxers in the entire history of the sport who fought in five consecutive decades.

           What qualities did these boxers possess that allowed them to survive for so many years in their brutal profession? I came to the conclusion that the first ingredient had to be a deep understanding of their craft. All three were well schooled in the finer points of boxing technique.  That quality was further enhanced by the seasoning they gradually acquired during their first decade of competition. On top of that they had to be flexible enough to make the necessary adjustments as they aged. It also helped that all three had great chins. 

       These boxers weren’t just great athletes—they were very smart athletes. They were able to compensate for deteriorating speed and reflexes by combining experience with superior athletic intelligence and excellent defensive strategies. Even near the end of their careers they were rarely knocked out or subject to a sustained beating. It was a method utilized to great success by two former champions who stretched their careers to the maximum and are among the dozen master boxers who just missed the five decade mark: Welterweight champion Jack Britton (1904-1930) and light heavyweight champion Archie Moore (1935-1963). Both used an amalgam of those four skill sets—athletic intelligence, flexibility, superior defensive strategies, and vast experience— to keep them in the game long after their contemporaries had retired. 

      I could have added another master boxer to the list, the former heavyweight champion Jack Johnson. But despite his having fought in five consecutive decades (1897-1930) there were several gaps in his record. Johnson remained active up to his winning the title in 1908. But from 1911 to 1930 there were seven years in which he did not engage in a single prizefight. I felt this was too much inactivity, even for a five decade man, so I decided that only a fighter with not more than three separate years without a fight could qualify. Those ground rules would have applied to George Foreman as well. Big George fought in four separate decades (1964-1997) but was idle from 1978 to 1986, so even if he had fought into a fifth decade that lengthy stretch of inactivity would disqualify him.   

   In chronological order here are the three members of the exclusive “Five Decade” club:

KId Azteca

Kid Azteca: Professional career 1929 to 1961. Won-lost-draw record: 192-47-11, including 114 wins by knockout . 

   A legend in Mexico, and one of that country’s greatest fighters, the 5’8” 147 pound welterweight had his first pro bout when Herbert Hoover was president, Babe Ruth was still belting out home runs for the Yankees, and Gene Tunney was heavyweight champion. When, 32 years later, he entered the ring at age 47 for his last pro bout Mickey Mantle and Roger Maris were the home run kings for the Yankees, Floyd Patterson was heavyweight champion, and John F. Kennedy was president. But longevity is not the only item that distinguishes Azteca’s boxing career. He was a top ten title contender for seven years. Between October 1933 and May 1941 (40 months) Azteca was ranked as high as the #1 world welterweight contender by The Ring magazine. 

      

Kid Azteca

Kid Azteca earned his rating with wins over contenders Joe Glick, Young Peter Jackson, Eddie Kid Wolfe, Baby Joe Gans, the Cocoa Kid, Izzy Jannazzo, Morrie Sherman and future middleweight champion Ceferino Garcia (two out of three). In 1939 he lost a close decision to future welterweight champion Fritzie Zivic. After losing twice to Zivic in return matches Azteca finally gained a victory in 1947. Other notable opponents were Jackie Wilson, Baby Casanova, Bep Van Klaveren, Leon Zorrita and former lightweight champion Sammy Angott. Most of his fights took place in Mexico City but he also appeared in Los Angeles, Texas and South American rings. There are no gaps in his record—he engaged in at least one or more fights every year from 1929 to 1961. 

    Throughout his life Kid Azteca remained hugely popular among his countrymen and even appeared in several movies produced in Mexico. Unfortunately there are no films of him in action. Nevertheless, I don’t think it would be a stretch, considering his career and high rating, to say that Azteca possessed an outstanding defense. Fighters who are “catchers” or who engage in too many wars are worn out quickly and cannot sustain a career anywhere near that length of time.

Roberto Duran

Roberto Duran:  Professional career 1968 to 2001. Won-lost record: 103-16, including 70 wins by knockout. 

     The street urchin who emerged from the slums of Panama to become one of the sport’s greatest and most charismatic champions turned pro at the age of 16. Five decades later, on July 14, 2001, in the final fight of his career, the 50 year old legend lost a unanimous 12 round decision to 39 year old Hector Camacho. 

     The Roberto Duran who lost to Camacho was many years passed his prime. He was not the same fighter who took down Ken Buchanan, Estaban DeJesus, Sugar Ray Leonard, Ray Lampkin, Pepino Cuevas and Iran Barkley. Nevertheless, he could still display the subtle boxing moves and ring smarts that kept him from being dominated by much younger opponents. 

       Roberto Duran was one of the greatest punchers in the history of the lightweight division. But, as sometimes happens with exciting punchers who can also box, their cleverness often goes unrecognized or underappreciated. Duran had a world of natural ability but he also was intelligent enough to understand that there was far more to this sport than throwing punches at an opponent. There is a telling quote in Kelly Nicholson’s excellent article on Duran (“The Panamanian Devil”, International Boxing Research Journal, September 2018): “As to the motivation for his career, Duran would say shortly before the first fight with Leonard, ‘I got into boxing to learn it…I didn’t enter the ring to get out of the gutter. Those are stories. I got into it because I like it.” 

       Duran’s nascent career benefited tremendously from the expert teaching of his two old school master trainers Freddie Brown and Ray Arcel. These two professors of pugilism had nearly 100 years of combined experience. They answered his desire to learn as much as possible about his craft, smoothed out the rough edges, and made him even more dangerous. They taught him the tricks of his trade and the result was that Duran eventually developed into the type of throwback fighter that is virtually extinct today. 

     Watch a video of any Duran fight after 1974 and you will see that even in his dotage he never gets trapped on the ropes, often rides with and slips punches aimed at his head and performs subtle feints to lure his opponents into making mistakes that are paid for with damaging and accurate counter punches (especially to the body). As he moved up in weight and as he aged Duran’s punch was not as devastating as it had been during his eight year tenure as lightweight champion. As a result, he had to rely more on his strategic boxing skills. To watch Roberto Duran fight is to experience a textbook lesson in the lost art of boxing. He is one of the few genuine ring greats who still walks among us. 

Sweet Saoul Mamby

Saoul Mamby: Professional career 1969 to 2008. Won-lost-draw record; 45-34-6, including 18 wins by knockout.  

     It is virtually impossible to go through an entire professional boxing career and expect to come through relatively unscathed. But if anyone came close to achieving such a goal that person would be Saoul Mamby, which is all the more remarkable since he had his last professional fight at the age of 60!

      Just as there are born punchers I believe there are also born boxers. What I mean is that some neophyte boxers seem to grasp the concepts of on balance defensive boxing more readily than most. Perhaps it’s a genetic disposition that tells them it is better to give than to receive. 

      Saoul Mamby never thought it a good idea to receive a punch in exchange for the opportunity to land one of his own. He did not seek a knockout victory, although if presented with the opportunity his solid right cross was capable of dropping an opponent. His basic strategy involved keeping his hands up to protect his chin, using a busy left jab to keep an opponent off balance, and always keep moving. He never threw a right hand punch unless he deemed it safe to do so. It was a style that didn’t win fans but it kept him from taking a sustained beating. Jim Corbett would have approved.    

     Mamby’s defensive prowess was put to the test when he faced a prime Roberto Duran on May 4, 1976 in a non-title 10 round bout. The lightweight champion tried mightily to make Mamby his 49th knockout victim. Duran won the unanimous decision but he did not come close to scoring a knockout. Six months later Mamby faced another test when he crossed gloves with the formidable former champion Antonio Cervantes who had knocked out nine of his previous ten opponents. Like Duran, Cervantes could not find his elusive opponent’s chin and had to settle for unanimous decision.  

         His first attempt to win a title occurred in 1977 and resulted in a controversial split decision loss to the WBC Super Lightweight champion Saensak Muangsurin. The fight took place in Thailand, the champion’s home turf. Mamby believed he was the victim of a hometown decision.

  

Saoul Mamby

  Three years later, in his second try for the 140 pound title, he challenged Sang Hyun Kim of Korea. Once again he found himself fighting in his opponent’s backyard. Not willing to take any chances on a hometown decision the 32 year old challenger displayed a more aggressive style and was intent on ending the fight before it went to a decision. In the 14th round, Mamby saw an opening and landed a powerful right cross on Kim’s jaw that dropped him for the full count.    

    Winning a world title seemed to energize Mamby and in his first defense he stopped former lightweight champion Estaban De Jesus in the 13th round. Four more successful defenses followed before he lost a controversial 15 round split decision to Leroy Haley. After outpointing Monroe Brooks he was given a chance to regain the title from Haley but lost another close decision. In 1984, in his final title challenge, he fought Billy Costello for the super lightweight championship and lost a 12 round unanimous decision. 

     By the 1990s Mamby was losing more often (he won only five of his last 17 bouts) but, win or lose, he continued to frustrate opponents. Mamby finally announced his retirement   on May 19, 2000 in Greensboro, North Carolina. He was 52 years old. 

     Eight years later Mamby attempted a comeback. After being told that no boxing commission would dare license a 60 year old prizefighter Mamby found a place that would—the Cayman Islands. On March 8, 2008 he lost a 10 round decision to a 31 year old boxer with dismal 6-26 won-lost record. As usual Saoul emerged unscathed. As of today there are no plans for a comeback. 

End

Mike Silver is the author of The Arc of Boxing: The Rise and Decline of the Sweet Science and Stars in the Ring: Jewish Champions in the Golden Age of Boxing. Both books are available on Amazon.com.

Introduction of Kid Azteca:


Roberto Duran Gives Master Class On Boxing:

Roberto Duran meets Brighton & Hove ABC from South Coast Productions on Vimeo.

Review: Measure For Measure Presented by ArtsEmerson

“Measure For Measure”

At ArtsEmerson

Is Not A Problem

William Shakespeare’s  Measure For Measure is considered his first problem play. The production now playing at the Emerson Cutler Majestic Theatre presents only one problem. It is here for only six performances, and a few of those performances are competing with the Red Sox in the World Series. This is too bad as the play, which is a collaboration by London’s Cheek By Jowl and Moscow’s Pushkin Theatre, directed by Declan Donnellan, and with a cast that speaks entirely in Russian (there are subtitles), is as interesting a production of one of Shakespeare’s works as you will see.

Set on a nearly bare stage with five large red boxes lining it, and an array of hanging lights of the type you might see in an industrial building, the starkness takes on a full life as the cast of thirteen enter and begin this story of power, the fairness and abuse of authority, hypocrisy, and conflicting principles. It is one of Shakespeare’s least performed, yet most moving works.

And yes, I wrote it is performed entirely in Russian, which may seem offsetting to some who can’t imagine seeing the works of the Bard performed in anything other than the original verse. However, I am here to tell you it works wonderfully when performed this way. There is definitely a synergy   when Russian actors take on Will Shakespeare. 

Interestingly, two of the most widely acclaimed film versions of King Lear and Hamlet were produced by Russian director Grigori Kozintsev, so this mix is not new. 

As the play begins the cast moves about the stage in a tight group without uttering a line. It is a device that is used to varying extents throughout the play as the crowd, in different sizes serves as witnesses, or perhaps a conscience, to and for the main characters. 

Angelo (Andrei Kuzichev) is played as a mousy bureaucrat who is given power by the Duke (Alexander Arsentyev), in the classic ambivalent role.

Anna Vardevanian’s Isabella is very interesting in that she gives us a more fragile and complex reading then I have seen before. Her “Man proud man” speech when confronting Angelo over his lack of compassion when enforcing the law is spoken more in mockery than anger. I found this to be very effective. Her facial expressions are priceless, especially in the closing scenes. 

There is much more to be said for this very talented cast, but time grows short, and you really should be making plans to see this Measure For Measure. It is a timely work that will have you reflecting on how power is wielded and what happens when people are too rigid and hypocritical when ruling over others. Of course there is much more to it, but you should really see for yourself. I highly recommend you do.

This is a unique and fast moving production that should not be missed. ArtsEmerson is giving Boston theatre goers a gift. Accept and enjoy it.

Measure For Measure

Cheek By Jowl and Pushkin Theatre

Presented by ArtsEmerson

At The Emerson Cutler Majestic Theatre

219 Tremont Street, Boston

Through October 28

tickets [at] artsemerson [dot] org | 617.824.8400

Photos by Johan Persson

Review: “Fun Home” at SpeakEasy Stage

Fun Home

At SpeakEasy Stage

Is First Rate

Reviewed by Bobby Franklin

Three Alisons (Marissa Simeqi, Ellie van Amerongen, and Amy Jo Jackson)
Photo: Nile Scott Studios

The musical Fun Home now playing at the SpeakEasy Stage Company is deeply moving and complex. Based on the graphic memoir of the same title by Alison Bechdel, it tells the story of of Ms Bechdel’s childhood and her coming out as a lesbian while in college. However, this is not a story simply about a young woman coming to terms with her sexuality. It is much more complicated than that. In reality, her coming out is not the center of the story. 

The play opens in, what seems to be, the happy home of the Bechdels (Welcome To Our House on Maple Avenue). Alison’s father, Bruce (Todd Yard), is an English teacher as well as a director of a funeral home. The title of the play is taken from the shortened and more enjoyable name the Bechdel children use for the family business. Alison has two brothers, Christian (Cameron Levesque) and John (Luke Gold).

Alison is played by three actors depicting her at different ages. There is Small Alison (Marissa Simeqi), Medium Alison (Ellie van Amerongen), and present day Alison (Amy Jo Jackson). The play does not follow a chronological order, but rather follows the present day Alison as she looks back on events in her life while drawing cartoons as she relives the various times. Much of the time she is sitting at a writing desk or standing off to the side looking on and drawing as her memories are played out by the others. She makes comments as she observes. I found this very effective as it is common for people to look back on their lives as if they are witnessing a play or a movie. Trying to figure it all out can get complicated, and this story is no different when it comes to complications.

Marissa Simeqi (Small Alison)and Todd Yard (Bruce)Photo: Nile Scott Studios

Those complications are not so much in Alison’s coming to grips with her own sexual identity, she does quite well with that, but more with her father’s having to deal with his. It turns out Bruce is gay and has never come out. He has gotten into trouble for “procuring alcohol for underage boys”. Tyler Simahk, last seen at SpeakEasy in Allegiance plays multiple roles as the young men Bruce procures beer for. He is also somewhat controlling, not abusive, of his children, and it is easy to gather that controlling behavior is reflective of his attempts to control his own behavior. It is painful to watch him struggle. 

In the song Maps Alison talks about drawing maps of the neighborhood as a child. At one point she says about her father “I can draw a circle, his whole life fits inside”. That line had me thinking of how trapped Bruce must have felt. 

Bruce eventually killed himself by stepping in front of a truck. This was not long after Alison came out, and she says “My beginning would be your end”. These words are powerful as they so strongly convey the torment in not being able to live who you are openly. Alison was fortunate, though it still wasn’t easy, to have come of age in a time when she could find support and acceptance. Bruce had to live his life in the shadows and with guilt and anger that was turned within.

One of the most powerful moments in the play is when Alison’s mother Helen (Laura Marie Duncan) sings Days and Days:

Welcome to our house on Maple Avenue
See how we polish and we shine
We rearrange and realign
Everything is balanced and serene
Like chaos never happens if it’s never seen.”

In which she laments her life, feeling she wasted it in attempting to be the good wife.”

 She advises Alison: 

“Don’t you come back here

I didn’t raise you

To give away your days

Like me.”

The song is strong and delivers the message of how living lies is painful to all involved. Fortunately, Alison has learned that difficult lesson.

Helen (Laura Marie Duncan)Photo: Nile Scott Studios

While this story is one that involves much struggle and pain, it also has its happy moments. Although Bruce was in much pain and controlling, he was also a loving father. The children loved him and Helen, as well as each other. The song Come To Fun Home is a rousing number sung by the three siblings as they pretend to make a commercial for the funeral home. It is somewhat of a cross  between the Osmands and the Jackson Five, and all much fun. Marissa Simeqi, Cameron Levesque, and Luke Gold bring the house down while dancing around a casket, and taking turns singing into a can of Pledge used as a microphone. 

Desire Graham plays Joan, the understanding, though edgy, friend Alison makes on campus and who eventually becomes her lover. Joan may be a bit tough but she is kind, and just the supporting figure Alison needed 

Amy Jo Jackson in her role as present day Alison comes across as thoughtful and wise. It is interesting watch her expressions as she observes and begins to understand her life as it evolved  Often, when looking back we see ourselves with a more sympathetic eye. It is good when we can cast that view onto our present day selves. We can learn that from Alison Bechdel.

Fun Home

Music by Jeanine Tesori

Book and Lyrics by Lisa Kron

Directed by Paul Daigneault

Music Direction by Matthew Stern

Through November 24 at the Calderwood Pavillon

527 Tremont Street, South End, Boston

617.933.8600

speakeasystage.com 

When Fenway Park Packed A Punch

A Brief Look At The Time Boxing Matches Were Held At Fenway Park

By Bobby Franklin

Fenway Park 1912

Fenway Park is the home to a team that can now be called among the best, if not the the best, in baseball history. The Boston Red Sox were dominant this year and in the World Series. 

Fenway Park is the proud home to the Sox. It is considered one of the most beautiful ballparks in the country and one of the few remaining old time parks. Bostonians are not only proud of their team, they also take great pride in having such a wonderful home venue to host that team.

Fenway Park first opened in 1912. Over the years it has been the sight of baseball games. It has also been known to have other events as well. Among these were professional wrestling, rock concerts, ice hockey, football, ski jumping, and boxing.

The first boxing card to take place at Fenway was on Monday, August 11, 1919. In the main event that night, local boxer Frankie Britt won a 12 round decision over Ralph Brady in a lightweight battle.

There would be two more fight cards held at the park over the next year before taking a break. Boxing would resume being staged at Fenway on June 26, 1928 when Al Mello faced Billy Murphy for the New England Welterweight Title. Mello came away with a win after 12 rounds. Other local fighters who appeared that night included Hy Diamond, Charlie Donovan, Jack Donohue, and Ray Cross. They all were victorious.

There were 22 more fight cards held at Fenway from 1928 through 1937. The last during that period was held on August 24, 1937 when Tony Shucco and Al McCoy fought to a draw in the main event promoted by Rip Valenti. There would not be another fight held there until after WWII. 

During those years there were a number of great venues for staging boxing matches. These included the Boston Garden, Boston Arena, the Mechanics Building, and another ballpark; Braves Field.

Staging an outdoor fight always came with the risk of bad weather forcing a cancellation or hurting attendance. Often times big title fights were held outdoors because they could accommodate the huge crowds eager to attend so the risk was worth taking.  I don’t believe crowd capacity was the reason for holding outdoor fights in Boston. It more likely was because it is such an attractive place to be on a warm summer night. Also, in the days before air conditioning was widespread it could be a nice alternative to sitting in a stuffy arena.

During the 1930s some of the world’s leading contenders made appearances at Fenway Park. The ill fated Earnie Schaaf lost a decision to Babe Hunt on September 2, 1930. Tony Shucco fought there again in 1937 when he lost a decision to top contender Natie Brown. Maxie Rosenbloom defeated Joe Barlow there in 1932, and the great Kid Chocolate also fought at Fenway in 1932 defeating Steve Smith by decision. Future heavyweight king James J. Braddock made his only appearance at the park when he won a decision over Joe Monte in 1930.

 

Jack Sharkey vs Phil Brubaker

In 1936 former heavyweight champ Jack Sharkey, on the comeback trail, took on Phil Brubaker in a ten round main event at Fenway. He came away winning a close ten round decision. The Associated Press gave this report on the fight:

“Jack Sharkey projected himself back into the heavyweight picture today as the result of a close but convincing 10 round victory over young Phil Brubaker. Sharkey got up off the floor at Fenway Park last night, gave the 22 year old Brubaker an artistic boxing lesson, and promptly served notice that he’s serious about making a comeback. Knocked down, cut and battered by Brubaker’s first round rush, Sharkey rallied to outbox, outpunch and outpoint the California clouter. The 33 year old ex-champion, all things considered, waged one of his best fights to score an uphill victory.” 

The win would earn Sharkey a match against an up and coming heavyweight contender by the name of Joe Louis. Jack would retire after losing to Louis.

Boxing returned to Fenway in 1945 when two aging former heavyweight contenders faced off. Tami Maurlello took on Lou Nova. Both had challenged Joe Louis for the championship years before and were at the tail end of their careers. Tami showed he still had quite a bit of fire in him when he destroyed Nova in the first round, dropping him less then a minute into the fight. He then opened a cut over Lou’s left eye before finishing him off with a right to the jaw.

There would only be two more fight cards promoted at Fenway Park and they would be in the mid 1950s. Both would be headlined by one of the most exciting fighters to ever come out of Boston, the great Tony DeMarco.

In 1954, hot on the trail for a shot at the world welterweight title, Tony showed his vaunted power when he stopped George Araujo in the 5th round. Araujo put up a valiant effort but was outgunned by the power punching DeMarco.

The final boxing show to be held at Fenway Park took place on June 16, 1956 when Tony DeMarco once again headlined a show promoted by Sam Silverman. Tony was now the former welterweight champ, but was on the comeback trail coming off two wins since losing the title to Carmen Basilio.

Tony DeMarco Celebrates Victory Over Vince Martinez At Fenway Park

Tony showed he was still a serious contender to be dealt with as he won a ten round decision from the very talented Vince Martinez. Martinez started fast, winning the early rounds, but Tony came on to dominate the rest of the fight nearly stopping Vince in the tenth round.

I don’t know if Boston will ever again see another boxing show at Fenway Park, but it sure would be exciting. Taking a seat at ringside on that field of dreams would be an unforgettable experience. Maybe some promoter will consider doing it again.

“A Charlie Brown Christmas Live On Stage” In Boston

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The Peanuts Gang Comes to the Boch Center Shubert Theatre for A Charlie Brown Christmas Live On Stage

New Production is a Fresh Take on the Timeless Classic

Just in time for the holiday season, the Peanuts gang will be coming to the Boch Center Shubert Theatre from November 29 – December 2, 2018 for A Charlie Brown Christmas Live On Stage. A Charlie Brown Christmas Live On Stage is a fresh take on the timeless classic that gives the audience a completely new way of experiencing the storyline as portrayed by real actors who maintain the integrity and spirit of each Peanuts character.

This Emmy and Peabody award-winning story by Charles M. Schulz has been a longstanding tradition, warming the hearts of millions of fans since it first aired on television over 50 years ago. Now, the live on stage adaptation of the classic animated television special brings all your favorite characters to life – all set to the unforgettable sounds of the Vince Guaraldi musical score. 

A Charlie Brown Christmas Live On Stage encompasses each of your favorite scenes from the original animated television show.  It even expands the storyline into greater detail with more fun, more music, more finding the true Christmas spirit.  This Peanuts Experience also includes an intermission and, after the final bow, the show crescendos into a celebration of song as the audience is invited to join the Peanuts gang in singing Christmas favorites.

So, join Charlie Brown, Snoopy, Lucy, Linus and the rest of the Peanuts gang in their journey to uncover the true meaning of Christmas.

Tickets are on sale and can purchased at the Boch Center Box Office, online at www.bochcenter.org, or by phone: 866.348.9738.

“Breath & Imagination: The Story Of Roland Hayes” Opens At The Lyric Stage on November 30

Breath & Imagination

The Story Of Roland Hayes

A musical by Daniel Beaty

Directed by Maurice Emmanuel Parent

Music Director, Doug Gerber

 Featuring Davron S. Monroe, Yewande Odetoyinbo, Doug Gerber,

 Nile Hawver

Breath & Imagination: The Story Of Roland Hayes opens at the Lyric Stage on November 30 and runs through December 23. 

Breath & Imagination chronicles Roland Hayes’s inspirational journey from a Georgia plantation to a singing career that included command performances for kings and queens. Despite his international acclaim, Roland never left behind his complex and loving relationship with his mother, his Angel Mo’. With spirituals and classical music, Breath & Imagination is a compelling musical about one man’s determination to become an artist despite seemingly insurmountable odds.

THE TOWN OF BROOKLINE, home to Roland Hayes, will host a FREE welcoming event for Breath & Imagination, with the actors presenting scenes from the play, plus a talk by the play’s director.  Sponsored by Brookline’s Office of Diversity, Inclusion & Community Relations, local grants will provide a diverse audience of attendees with a range of discounted tickets to the play.  Sunday, Nov. 18, 6pm @ United Parish, 210 Harvard St.

The Lyric Stage, 100 Clarendon Street, Copley Square, Boston

617.585.5678

www.lyricstage.com

Boxing’s Lessons

Punching From The Shadows

Memoir Of A Minor League Professional Boxer

Published By McFarland (McFarlandbooks.com) 

265pp

Reviewed by Bobby Franklin

Glen Sharp had a professional boxing career that consisted of three fights of which he lost two. In Punching From The Shadows: Memoir Of A Minor League Professional Boxer he chronicles his time in the ring and the gyms, along with his experiences with the many different and unusual characters that populated the world of boxing in the 1980s. He also discusses why a young man decides to take up such a brutal sport, and the effect it had on his life, both short and long term. 

Sharp has written a fast paced book that gives the reader much insight into what it takes to become a fighter. Unlike other sports from that era, when a young man would first enter a boxing gym it was very likely he would be training alongside seasoned professionals. This was true for the author, who would become friends with and a sparring partner for five time world title challenger Yaqui Lopez. I don’t think many young football players get a chance to workout with Tom Brady, but boxing was a very egalitarian sport. It was one of the things that made it so attractive.

Glen Sharp wasn’t some poor kid from the mean streets who sought out boxing as a means to escape a life of poverty. In fact, he explains how the belief that boxing is a poor man’s sport is overhyped. Dipping into the writings of Jose Ortega y Gasset as well as Homer, he describes boxing as a form of expression, an artistic pursuit. With the advances man has made, many skills that were once required for survival are no longer needed on a daily basis. However, there is still an urge in many a young man to test himself to see if he can pass the test when challenged on his ability to implement those qualities. These include strength, skill, courage, and endurance. Sharp found the best way for doing that was in taking up boxing.

Yaqui Lopez and Glen Sharp

In Punching Through The Shadows, Glen Sharp gives us an honest telling of his life in boxing. His self doubts and second guessing will be familiar to anyone who has taken a shot at practicing the sweet science. Along the way we meet people such as former Middleweight Champion Carl Bobo Olsen who trained Sharp for a period of time. Reading about the relationship between the former champ and the young prospect only strengthened my belief that having been a top ranked fighter does not necessarily mean you will be good at teaching the art of boxing. In fact, I came away from this book believing Glen Sharp gained more insight into what goes into making a boxer on his own than most trainers do. He really understands the “theory of boxing”.

In an interesting chapter entitled Boxing Is Economics Theory Expressed In The Flesh, Sharp, who has an undergraduate degree in economics puts that knowledge to use in explaining things like the cost/benefit calculation when throwing a punch. When a boxer throws a punch he is most vulnerable to being hit with one. How to mitigate that risk is something every fighter thinks of, though maybe not in economic theory terms. It makes for interesting reading.

When I say Sharp understands the “theory of boxing”, this is made very clear when he describes the styles of some of the leading boxers of the time. His analysis of Joe Frazier as not a slugger but as a skillfully aggressive boxer is both insightful and right on the mark. He also makes  great a point when he writes “What a fighter fears most is not physical discomfort…but rather a failure to live up to the image the fighter has of himself.” There are a number of such gems in this book.

Glen Sharp (left) On The Attack

Along with many insights into the world of boxing, Sharp also delivers a compelling personal story. His comparison of boxing with art  serves him well when discussing his own journey. His story is honest and open. He freely discusses his fears, his self doubts, and his disappointment in not being able to become a top boxer. Boxing is a sport of dreams that are rarely fulfilled. Glen Sharp, like just about any kid who ever put on a pair of boxing gloves, dreamed of one day becoming a world champion. As far a long shot as that is in reality, it is still painful to have to accept the fact that it just isn’t going to happen. In boxing, the default mode emotionally is to look upon one’s self as a failure in so many ways, most of all in believing it means you have failed the test of manhood. 

Sharp With Carl Bobo Olsen

It took Sharp some time to work his way through those feelings. After his third pro fight he stepped back from boxing. A while later he decided he wanted to give it another try. He still felt he could do it and the need to prove himself still burned inside of him. After speaking to a trainer and promoter about making a comeback, he was advised not to. It was a tough message to get and it hurt. He again uses the comparison with the arts to describe his feelings and how he dealt with this emotionally. It turns out he proved himself solidly.

When visiting a boxing gym today, the odds are you will see something more akin to a huge aerobics class setting than the boxing gyms from a few years back. Boxing gyms are now a platform for group exercise rather than places to learn the expressive art Sharp so well describes. He was around for the waning days of the old school boxing gyms and trainers who understood what it was all about. Punching Through The Shadows is a terrific chronicle of what boxing was and should be. It is also a great story of a young man’s quest to test himself and to deal with the emotional turmoil that is so much a passage into manhood.

If you spent time in a boxing gym before they became group fitness centers you will find much of what Sharp has written will bring back memories. If you missed out on those days, you will learn much about what it meant to train in an authentic boxing gym at a time when it was very different than today.

Glen Sharp With His wife Punky

I can’t think of another boxing book out there that gives such an inside look at what it was like to pursue the dream of boxing in the way Glen Sharp did. It is a great read on so many levels. Most of all, it is a very human story. I doubt there are many who will not be able to relate to some portions of Sharp’s book. I know I did.

 

NORTH SHORE MUSIC THEATRE PRESENTS

THE 28TH ANNUAL PRODUCTION OF

A CHRISTMAS CAROL

A MUSICAL GHOST STORY

14 PERFORMANCES ONLY!

December 7 – 23, 2018 

David Coffee as Scrooge
Photo Credit: Paul Lyden

Bill Hanney’s North Shore Music Theatre (NSMT) will once again present the area’s most beloved production of A CHRISTMAS CAROL sponsored by MarketStreet Lynnfield. This award-winning, original musical adaptation was created solely for North Shore Music Theatre and cannot be seen anywhere else. Two cast members, David Coffee (Ebenezer Scrooge) and Cheryl McMahon (Mrs. Dilber), will be both be celebrating their 25th appearance in the holiday show. A CHRISTMAS CAROL will play 14 performances from Friday, December 7 thru Sunday, December 23, 2018. 

“This year’s production of A Christmas Carol will be even more festive than ever before. This year we will celebrate two beloved cast members, David Coffee and Cheryl McMahon, who are both marking their twenty-fifth appearance in the show,” said NSMT’s owner and producer Bill Hanney. “With each passing year, we look forward to watching them perform together on stage. We are never disappointed with the new ways they find to make us laugh, and cry, and fill us with the spirit of the holidays!”

Based on the Charles Dickens classic, A CHRISTMAS CAROL is an original adaptation by former NSMT Artistic Director Jon Kimbell and members of the NSMT staff, following Ebenezer Scrooge through a series of strange and magical ghostly encounters, where he ultimately discovers the true spirit of the holiday season. With dazzling special effects that have grown even more exciting over time, traditional and original songs, and colorful costumes, A CHRISTMAS CAROL has become a holiday favorite throughout New England having been seen by more than one million people since 1989.

Cheryl McMahon as Mrs. Dilber
Photo Credit: Paul Lyden

NSMT audience favorite, David Coffee, returns for his twenty-fifth year playing Ebenezer Scrooge. A CHRISTMAS CAROL also features Leigh Barrett (The Ghost of Christmas Past, Mrs. Cratchit), Peter S. Adams (The Ghost of Christmas Present, Gentleman 1), Ryan Mardesich (The Ghost of Christmas Yet To Come, Young Scrooge), Freddie Kimmel (Jacob Marley), Tommy Labanaris (Narrator), Russell Garrett (Bob Cratchit), Cameron Hobbs (Pearlie), Parker Krug (Pearlie), Joy Clark (Belle), Andy Tighe (Fred), Cheryl McMahon (Mrs. Dilber/ Mrs. Fezziwig), J.T. Turner (Mr. Fezziwig/Gentleman 2), Bobby Conte (Old Joe, Ensemble), Lianne Gennaco (Meg, Ensemble), Allsun O’Malley (Ensemble), Ian Shain (Dick Wilkins, Ensemble), and Janelle Yull (Ensemble).

The cast of 27 actors will also feature many local young performers including Isabella Carroll (Belinda Cratchit), Jake Ryan Flynn (London Boy), Jospeh Flynn (London Boy), Asher Navisky (Peter Cratchit), Grace Olah (Fan), Cam Perrin (Ensemble), AJ Scott (Tiny Tim), and Nicole Talbot (Martha Cratchit), and Wade Gleeson Turner (Boy Scrooge).

Throughout the run of A CHRISTMAS CAROL NSMT will be collecting toys in the lobby for Tiny Tim’s Toy Drive.  NSMT will be accepting unopened, unwrapped toys for boys and girls ages 2 – 12.  All toys will be donated to Toys for Tots.

Performances are December 7 – December 23, 2018 (Evening shows December 7, 8, 9, 14, 15, 16, 20, 21, and 22 at 7:30pm; Matinees December 8, 9, 15, 16, and 22 at 2pm). Tickets can be purchased by calling the North Shore Music Theatre Box Office at (978) 232-7200, via the website at www.nsmt.org or in person at 62 Dunham Road (Route 128, exit 19), Beverly, MA.  

 

“Elf The Musical” Opens At The Music Hall, Portsmouth, NH

The Ogunquit Playhouse Announces the Cast and Creative Team for the Holiday Production of Elf The Musical at The Music Hall

The Music Hall and the Ogunquit Playhouse are thrilled to announce the cast and creative team of Elf The Musical, on stage November 28 – December 16 at The Music Hall in Portsmouth, New Hampshire. Based on the beloved film, Elf The Musical is the hilarious tale of Buddy, a young orphan child who mistakenly crawls into Santa’s bag of gifts and is transported back to the North Pole and raised as one of Santa’s elves. Eventually Buddy’s enormous size and poor toy-making abilities cause him to embark on a journey to New York City to find his birth father, discover his true identity, and help New York remember the true meaning of Christmas. 

The Ogunquit Playhouse production is helmed by Broadway director/choreographer Connor Gallagher and features an all-new set designed exclusively for the Ogunquit production at The Music Hall by acclaimed scenic designer Jason Sherwood. Leading the professional cast are New York and Broadway veterans Steven Booth as Buddy the Elf, Diana Huey as Jovie, Jen Cody as Deb, Lothair Eaton as the Macy’s Manager, Annie Edgerton as Emily Hobbs, Blake Hammond as Santa, Philip Paul Kelly as Mr. Greenway, and Christopher Russo as Walter Hobbs. The role of Michael will be played by Calvin Middleton. 

Steven Booth (Buddy)

Steven Booth stars as Buddy. Mr. Booth recently starred as Charlie in the first National Tour of Kinky Boots, and as Richie in the first National Tour of Happy Days. On Broadway he has performed in School of Rock, Glory Days, and Avenue Q, and for regional theatres has performed in the Signature Theatre’s production of Glory Days, Avenue Q at the Wynn Las Vegas Theatre, Capitol Repertory’s Edges, North Shore Music Theatre’s Three Musketeers, and Coeur d’Alene Summer Theatre’s Pippin.

Diana Huey co-stars as Jovie. Ms. Huey most recently starred in the first National Tour of The Little Mermaid as Ariel. She has performed in numerous New York and

Diana Huey (Jovie)

Regional productions including Girlstar, Jasper in Deadland, James and the Giant Peach, Spring Awakening, Avenue Q, Dr. Horrible’s Sing-Along-Blog, Rent, Mame, and Signature Theatre’s Miss Saigon for which she won the Helen Hayes Award for Outstanding Lead Actress. 

Portraying Deb is Jen Cody. Ms. Cody has starred in numerous Broadway productions including A Christmas Story, Shrek, Pajama Game, Taboo, Urinetown the Musical, Seussical the Musical, Disney’s Beauty and the Beast, Grease, and CATS. Off-Broadway her credits include Cleopatra, The Wild Party, Judith of Bethulia, and Henry and Mudge. In film her voice can be heard in many animated films, including her Annie Award-winning role as Charlotte La Bouff in Disney’s The Princess and the Frog.  On television she has performed in CBS’s Instinct, Bull, Unforgettable, and Blue Bloods, and provided voiceover work for Shrek Live, American Dad, Phineas and Ferb, and Mickey and the Roadster Racers among many others. Ms. Cody was last seen on the Ogunquit Playhouse stage in 2012’s Damn Yankees, 2009’s All Shook Up, 2006’s Cinderella, and was the Choreographer for the 2016 and 2015 smash-hit Million Dollar Quartet. 

Lothair Eaton joins the cast as the Macy’s Manager. Off-Broadway Mr. Eaton starred in the original company of Nunsense A-Men, and in the UK Tour of 5 Guys Named Moe. In Regional theatres he has starred in Trav’lin 1930’s Harlem Musical, When Pigs Fly, Sunday In The Park With George, and Show Boat. Additionally, he starred as Papa the Old Steam Train in the Germany, Las Vegas, New Zealand and UK Tour of Starlight Express. 

Portraying Emily Hobbs is Annie Edgerton. Ms. Edgerton has starred as Rosie in Mamma Mia! on Broadway as well as in the first two National Tours. She has also performed on Broadway in Kinky Boots, and in numerous Regional and Off-Broadway productions including Fly Me to the Moon, Comedy of Errors, King Lear, Les Miserables, Legally Blonde, Babes in Toyland, Showboat, and Betrayal, among others.

Blake Hammond joins the cast of Elf The Musical as Santa. On Broadway he has performed in numerous productions including Sister Act, Elf The Musical, Billy Elliot, Disney’s The Lion King, Hairspray, The Music Man, Kiss Me Kate, and On the Town, and Off-Broadway in When Pigs Fly, Carnival, and Do Re Mi. Mr. Hammond has also starred in the National Tours of Something Rotten, Cinderella, The Addams Family, and Joseph and the Amazing Technicolor Dreamcoat. Mr. Hammond was most recently seen on the Ogunquit Playhouse stage as Harry in 2018’s Grumpy Old Men the Musical. Additionally he has performed at the Playhouse in 2015’s Sister Act and 2009’s Guys and Dolls.

About The Music Hall

The Music Hall is a performing arts center featuring curated entertainment from around the world in two theaters in its downtown Portsmouth, New Hampshire campus—one, a landmark 1878 Victorian theater, designated an American Treasure for the Arts by the National Park Service’s Save America’s Treasures Program, the other the intimate Music Hall Loft around the corner, recently named “best performing arts venue” by Yankee Magazine and the recipient of the NH AIA award for design excellence. 

For tickets visit http://www.themusichall.org or call The Music Hall Box Office 603-436-2400.

Sugar Ray Robinson Went Out Fighting

Sugar Ray Robinson

Lost Title For Last Time In 1960

Kept Fighting Till 1965

By Bobby Franklin

By any measurement, Sugar Ray Robinson had a remarkable career. The man who has been called the greatest fighter pound for pound who ever laced on a pair of gloves had a total of 201 professional fights. Out of that number he lost only 19 times with 6 draws and 1 bout being ruled a no contest. As amazing as that record is, it is even more astounding when you consider that 12 of those 19 losses came after he lost the title to Paul Pender. Now, add in the fact that 5 of those defeats came in 1965, the last year of his career when the great champion was 45 years old.

In 1965 alone Robinson fought 12 times. He finished his career being very active, fighting twice a month on five occasions in just that one year. That’s amazing for a man of his age at the time. In that last year he also won more fights than he lost, posting 8 victories. 

After losing the title by a split decision to Pender in January of 1960, Robinson fought Paul again six months later, losing another split decision. Six months after that he would challenge Gene Fullmer for a version of the Middleweight Title in a bout that resulted in a draw. Just three months after that he would lose a decision to Fullmer. Remember, Robinson was doing all of this while he was forty years old.

In the 48 fights Robinson had after losing the crown to Pender five were against current, former, or future world champions. Out of those five he lost four decisions and had one draw. 

Today, it is not uncommon to hear the “experts” demean Robinson’s incredible talent. In an age where quantity trumps the quality of opposition, these “experts” love to play the numbers game. They will say things like “How great could Robinson have been? He lost 19 times.” What garbage.

Ray Dusts Off The Gloves For A Comeback

The number of wins a boxer has is less important than the quality of his opposition. But, in Robinson’s case, his record boasts both items. Robinson won his first 40 fights before losing a decision to Jake LaMotta. He had defeated Jake the previous year. After that loss he went on to have  90 straight fights without a loss, including 3 more wins over LaMotta. His final victory against Jake included winning the Middleweight Crown. He also won the Welterweight Title by defeating Tommy Bell.

Robinson, who began his career in 1940, would not taste defeat again until he lost the title to Randy Turpin in 1951. At that point in his career Robinson had a record of 129 wins against 1 loss and 2 draws. He regained the title from Turpin two months later. There’s the quantity. As far as quality goes? Just look at his record. Ray was fighting in an era that was dominated by great fighters, and he was competing in the division that had the largest number of them. What he accomplished was nothing short of phenomenal. 

Ray In His 201st Bout, Taking On Joey Archer.

Getting back to Sugar Ray’s post champion years, he never became an “opponent”. Up until his final fight he was campaigning for another shot at the title. In his last fight he took on leading contender Joey Archer. Joey won a ten round decision over Ray and just two fights later lost a split decision to Emile Griffith in a title fight. Even to the end and at the age of 45, Sugar Ray Robinson was in the mix of title contenders. 

If Robinson had retired after losing the crown to Pender, his record would stand at 143 wins, 7 losses, and 2 draws. He was only stopped once, and that was in his challenge to win the Light Heavyweight Championship from Joey Maxim. In that fight Ray collapsed from the heat and dehydration. 

It is a sad commentary that a great fighter like Sugar Ray Robinson should have his reputation questioned today, but that is the age we live in. Robinson’s achievements will never be matched. The Sugar Ray of 1965 would would have been able to handle today’s top middleweights. The younger Ray would have destroyed them. 

The next time you hear a “boxing expert” questioning Robinson’s abilities, just smile and walk away. That person wouldn’t know a left jab from a right cross.

A Wassail Festival

Seaglass Performing Arts 25th Anniversary Season Winter Concerts 

Saturday, December 1, 2018
South Congregational Church, Kennebunkport, Maine 7:00 pm 

Sunday, December 2, 2108 Holy Parish Church, Sanford, Maine 3:00 pm 

Seaglass Chorale’s 25th anniversary concert season will begin with its first of two performances of “A Wassail Festival” on Saturday, December 1, 2018 at South Congregational Church in Kennebunkport at 7:00 pm. The concert is a musical feast celebrating twenty-five years of Seaglass. A second performance will take place on Sunday, December 3rd, at Holy Parish Church in Sanford at 3:00 pm. 

Tickets may be purchased on line at seaglassperformingarts.org (go to “Concerts and Events” and use your credit card), at Morse Hardware on Post Road in Wells (see Sally Morse), or from any Seaglass Chorale member. 

“No Mas” Revisted

Leonard vs Duran II

Why Did Duran Quit?

By Bobby Franklin

When Sugar Leonard and Roberto Duran faced each other in the ring for the first time, it was for the welterweight title being held by Leonard. The fight took place on June 20, 1980 at the Olympic Stadium in Montreal, Canada. It was built up as, and lived up to, being one of the best world championship fights in history. It was supposed to pit the matador, Leonard, vs the bull, Duran. However, things turned out a bit differently as Leonard decided to meet the bull on his own terms and slug with Duran.

The hype leading up to the fight was particularly ugly with Duran at his worst with vulgar language and gestures. He even went as far as making lewd comments about Ray’s wife. Today we look at Duran as an elder statesman of boxing, but it has to be remembered that he was as brutal with his words outside the ring as he was with his fists inside of the ropes. Winning didn’t change his tone either. In an earlier fight, after he knocked out Ray Lampkin and was told Lampkin was taken to a hospital Duran responded “I was not in my best condition. Today I sent him to the hospital. Next time I’ll put him in the morgue.” Hardly the words of a gracious winner.

In spite of all this, Duran was an immensely popular champion in his prime, particularly with his fellow countrymen from Panama, where he was a national hero. He was also a fan favorite in the states because of his non stop acton style and amazing knock out record. A Roberto Duran fight was always exciting.

Sugar Ray Leonard also had a huge following. He first made headlines when he won Olympic Gold at the 1976 Games held in Montreal. Ray was an exciting fighter with a captivating smile. His fast hands and power punching were a throwback to great fighters such as Sugar Ray Robinson. 

The excitement that existed around the first Leonard/Duran fight was amazing. It rivaled a big heavyweight fight in interest, and was one of those matches that drew non fight fans. Everyone was talking about it, and everyone had an opinion on it. On entering the ring the two fighters had a combined record of 98 wins and 1 loss. Duran had many more pro fights than Leonard, 72 vs 27, but Ray did have a very extensive amateur career. These were two very experienced champions facing one another.

The fight lived up to expectations but with a slight twist. Leonard decided to eschew his boxing skills and instead went toe to toe with Duran. It was not a wise decision on Ray’s part but it sure made for quite the slugfest. Though it may have been a strategic mistake, Leonard did show he could stand up to Duran on Roberto’s terms. While the decision was not controversial, it was close.  

After winning the decision, Duran was on top of the world. He returned home and began partying. His weight ballooned and he did no training. Meanwhile, Ray Leonard became focused on what went wrong and what he could do to defeat Roberto in a rematch. He was motivated and wanted revenge.

During negotiations for the two to meet again, Carlos Eleta, Duran’s manager, agreed to have them face each other just five months after the first fight. This gave Duran only a short time to lose weight and get fit both physically and mentally to face Leonard again. It was something he was not able to do.

On the night of the return fight, November 11, 1980 at the Superdome in New Orleans, a very different Roberto Duran stepped into the ring. In contrast to the high energy “Hands of Stone” who bounded into the ring in Montreal, this Duran looked tentative and not sharp. He appeared lackluster climbing up the steps into the ring.

Before any fight a boxer’s mind can play tricks on him. His thoughts go back to training and whether or not he did everything he could to be prepared. Second thoughts can haunt a man who is about to step into the ring; “Why didn’t I run those extra miles? Why didn’t I spar more rounds”? As Shakespeare once wrote “Our doubts are traitors and make us lose the good we oft might win by fearing to attempt.” Was Duran’s mind playing games with him that November night? Were his thoughts causing him to fear attempting to beat Leonard again?  In retrospect, you can see something, or the lack of, in his eyes before the bell rang. 

It is also interesting to note that when the first round started Roberto extended a glove to Leonard. It was almost like a peace offering. It was a brief gesture and went unnoticed by those at ringside, but it tells a lot about his state of mind as the fight began. It was as if he wanted to make friends, very uncharictaristic for Duran.

For his part, Leonard employed an entirely different tactic in this fight. He came out circling and jabbing. When Duran got close to him he was able to tie him up and take away his inside game. Ray had learned from his mistakes and was waging a brilliant fight. He was moving, throwing combinations, making Duran miss. Ray was performing a well choreographed dance of violence, and while he may not have been hurting Duran physically with his punches, he was making him feel foolish and helpless in there. Duran did not have the fire to match Ray’s skill.

In Duran’s mind he had to be thinking “This guy gave me a tough fight on my terms when I was in great shape, now I am not in great shape and he is dictating what is happening in here”. He was becoming frustrated.

In the 7th round Leonard really turned it on. He dropped his hands and dared Duran to try and hit him. He wound up with punches. Ray, through his action, was telling Roberto he wasn’t man enough to be in there with him. 

In the 8th round Roberto just threw up his hands and quit. He didn’t appear to be hurt, he just tuned to the referee and said he was done. People at ringside and those watching around the world were stunned by this. It was so far away from the image of Duran as to be completely unbelievable. Something serious had to have happened. In that one moment, Duran’s career went up in flames. His victory over Leonard five months earlier was forgotten. He was labeled with the worst name in boxing; “A quitter”. How could this have happened.

Roberto has never really given an explanation. It is likely he himself really doesn’t understand why he did what he did. It was something that just happened. Some say he got stomach cramps and had to go to the bathroom. It has been suggested he was intentionally throwing the fight and was supposed to go 15 rounds and lose a decision building up a rematch but grew impatient and just decided to end it then. I don’t believe any of this.

Roberto Duran was not ready mentally or physically for this fight. His doubts were preying on his mind. It wasn’t getting hit that was bothering him. In fact, if he had been getting beaten while in a slugfest he most likely would have gone down fighting. What happened here was he was feeling humiliated, and he had no idea how to deal with it. The world was looking at him and he felt like a fool. His reaction was to turn and get away from it. i believe it was as simple as that. Did he regret it? Of course, and for years, twenty years in fact, he continued fighting to prove himself. He never came close to quitting again. In many ways he did vindicate himself, his tough fifteen rounds against Marvin Hagler helped. But Roberto Duran and the words “no mas” will always be linked together. It’s amazing how the actions of just a few seconds can tarnish a reputation for life. 

Review: “Man In The Ring” At The Huntington

A Compelling And Intense 

Life Story Of Emile Griffith 

At The Huntington

Man In The Ring

By Michael Cristofer

Directed by Michael Greif

Through December 22

The Huntington Theatre Company

Boston

Reviewed by Bobby Franklin

Kyle Vincent Terry and John Douglas Thompson
(Photo: T. Charles Erikson)

I was apprehensive when going to see Man In The Ring. The play by Michael Cristofer recounts the life of six time world boxing champion Emile Griffith. Mr. Cristofer had not even heard of Griffith until being asked to write the libretto for an opera about the former champ. That experience led to him writing the play. Given that, I thought this could turn out to be a real mess. 

I felt there was so much he would get wrong.  Boxing is a complicated, dark, and emotional sport. Emile Griffith’s life story is a complex one that is filled with many contradictions along with much success and terrible tragedy. There are a number of different parts of his life that could have dominated this work, but Mr. Cristofer has done a masterful job of giving us a complete and honest portrait of Griffith’s life. 

The fact that Mr. Cristofer did not have previous knowledge of Emile Griffith has proven to be an asset when it comes to telling the story. He comes to it with a blank slate and gets all of it right. Along with writing theatre reviews, I have also been a boxing writer for a number of years, as well as having spent a lifetime around the sport. If anyone would be sitting in a theatre looking for flaws in the story it would be me. It turns out I would have to dig pretty deep to point out any mistakes here. I was very impressed, and I am not easily impressed by boxing dramatizations.

Emile Griffith is played by two actors. Kyle Vincent Terry is the young Emile while John Douglas Thompson is Griffith in his later years, when the effects of the punches he took have begun to appear in what was known as Dementia Pugilistica, today as CTE (Chronic Traumatic Encephalopathy). Both actors appear on the stage together throughout most of the play, with the older Emile looking back on his youthful self while reflecting on the choices he made. It is fascinating watching the story unfold in this manner. There are times when the two have exchanges. 

John Douglas Thompson
Photo: (T. Charles Erickson)

John Douglas Thompson is among the finest stage actors performing today, and it is uncanny how he captures Griffith in the years when his mind is beginning to fade. In scenes that are both funny and tragic the effects of the dementia as it progresses are brought to the audience. One such moment occurs when Luis (Victor Almanzar), Emile’s lover and now caretaker brings him his shoe which ended up in the refrigerator. The exchange between the two is quite funny but also very sad. 

Kyle Vincent Terry’s young Emile is filled with the positivity and optimism that was Griffith (“Always hang your hat higher than you can reach”). The magnificently built immigrant from St.Thomas arrived in New York City to join his mother. He decided to come to the States to make it as a baseball player and/or singer. He also had quite a knack for making lady’s hats. This led him to a job with a fellow named Howie Albert (Gordon Clapp), a once aspiring boxer who now runs a millenary business. He was immediately taken by Griffith’s physique and talked him into taking up boxing. Mr. Terry really impressed me as Emile. As they would say in boxing “You got what it takes kid’, and he sure does.

Gordon Clapp and Kyle Vincent Terry
(Photo: T. Charles Erickson)

Boxing fans will notice the absence of Emile’s trainer Gil Clancy in the play. This is not an oversight, the author has rolled Clancy and Albert into one character. It works very well. Mr. Cristofer also, and I am not sure if this is intentional, shows how poorly Griffith was managed at the beginning of his career. Emile is what is known as a “survivor” in boxing. His was repeatedly thrown in with opponents who were far ahead of him in experience yet still managed to win. Albert didn’t develop a great fighter, he got lucky. Emile had incredible natural talent and a head for boxing. He was mostly self taught.

Kyle Vincent Terry and Cast
(Photo: T. Charles Erickson)

Griffith’s bisexuality was always an open secret in boxing and could have dominated this play. It certainly and rightly is a major part of the story, and Emile’s ambiguity about it is shown. His lifestyle was rarely if ever publicly discussed, that is until the weigh-in for his third fight with Welterweight Champion Benny “Kid” Paret (Sean Boyce Johnson). The scene is staged with an emotional intensity that reaches out to the back rows of the theater. Paret’s shouting “Maricon” (a Spanish slur for a gay man) at Emile caused the lighthearted challenger to lose his temper. 

What occurs next is seared into the memories of older boxing fans. In the fight which was broadcast live on nationwide television, Griffith unleashed a vicious beating on Paret while knocking him senseless. Paret would die ten days later. I have read that an earlier production of this play had trouble staging this scene. Director Michael Grief along with fight directors Rick Sordelet and Christian Kelly-Sordelet pull it off brilliantly. Using a revolving boxing ring, a tall projection screen showing footage from the actual fight, as well as using stop action effects with flash bulbs going off brings that terrible event vividly to life. Paret’s wife Lucia (Carla Martina), standing above and to the side of the action tells us what was going on with Benny before the fight. Lucia is joined by Emile’s mother Emelda (Krystal Joy Brown) and Paret’s manager Manuel Alfaro (Eliseo Gatta) in giving all the background that led up to this tragic outcome. They make it clear Paret never should have been in the ring that night. It is very, very powerful. Whether or not you are a boxing fan, you do not want to miss this.

There is music throughout the play. Caribbean children’s songs are sung by the actors accompanied by two musicians. It is not a musical, but the music is an integral part of the play, and just wonderful.

CastOf Man In The Ring
)Photo: T. Charles Erickson)

Man In The Ring is a complex work about a paradoxical man. Emile was a fun loving gentle man in the most violent of professions. A man who spent much time at gay bars while participating in the manliest of sports (this was at a time when being gay was equated with being a “sissie”). He was deeply effected by the death of Paret yet kept fighting for years after, though it was apparent he no longer fought with the same intensity.

As the play nears its conclusion we see Emile, now deeply suffering the effects of CTE, being brought to meet with Benny Paret’s son in a park. Emile is confused but the moment is touching. Young Paret, Luis, and Griffith are all involved in trying to make sense out of what happened. 

As a boxing historian I found so much in this play. The accuracy is just stunning. Mr. Cristofer not only did incredible research, but he also understands the subject.This is very impressive for a boxing “civilian”.

As a play reviewer, I saw an amazing work of theatre. This can be called a boxing play, and boxing fans should definitely see it. It is an important piece of work that should be added to the great literature on boxing. 

Beyond being a great boxing play, Man In The Ring is amazing theatre. It is impressive how much is covered in just 110 minutes. The entire cast and production team are nothing short of outstanding. It would be foolish to miss any work with John Douglas Thompson in it, but this work is solid from top to bottom.  

You might think I am giving this high praise because of my boxing background. If anything, my knowledge of the subject would have been more likely to have caused me to go negative. The fact that Mr. Cristofer was able to impress me speaks very well to this play. I brought an extra critical eye to the Huntington on the evening I saw Man In The Ring. I can assure you, you will not be disappointed in this play. It is a great boxing story, it is a great human story, it is great theatre. I highly recommend Man In The Ring.

huntingtontheatre.org 617.266.0800

Review: “Breath & Imagination” At The Lyric Stage In Boston

“Things Being Hard Don’t 

Give You The Right To 

Give Up”

Breathe & Imagination

The Story Of Roland Hayes

By Daniel Beaty

Directed by Maurice Emmanuel Parent

Through December 23 

Lyric Stage and The Front Porch Arts Collective

Copley Square, Boston

Reviewed by Bobby Franklin

Asher Denburg and Devron S. Monroe
Photo Credit: Mark S. Howard

While Roland Hayes is well known and highly admired in the world of classical music, it is surprising and regretful that he is not better known by the general public. His story of determination, talent, and belief in himself is inspiring to say the least. In a time when we are sorely lacking in role models, you won’t go wrong looking back to Roland Hayes as an example of how to live one’s life. Breath & Imagination now playing at the Lyric Stage in Boston brings us his story and music. I hope it also makes more people aware of this very important man who spent much of his life living in Brookline, MA while also teaching and performing in Boston.

Davron S. Monroe plays Mr. Hayes in this 90 minute production that is filled with music both spiritual and classical. The cast is small and the play is intimate with Mr. Monroe being accompanied by Asher Denburg on the piano. Mr. Denburg is also the Music Director. Doug Gerber plays Mr. Calhoun, Roland Hayes’s first voice teacher. Nile Scott Hawver takes on a number of other parts that include Miss Robinson, a voice teacher, as well as the King of England. 

Davron S. Monroe and Yewande Odetoyinbo
Photo Credit: Mark S. Howard

The play revolves around the relationship between Hayes and his mother Angel Mo played by Yewande Odetoyinbo. Roland’s father died when he was young, but we learn from his off stage voice (Nile Scott Hawver) how he influenced his son by talking him for walks in the woods while teaching him how to listen for the sounds of nature and to try to mimic them. This is where the young Hayes first became enthralled with what he could do with his voice.

Angel Mo encouraged him to develop his voice hoping he would use this “gift from God” to become a preacher. Roland had other ideas. After hearing a recording of Enrico Caruso, the young man wanted to became a classical singer. This put him at odds with his mother. Watching the story unfold, while both Mr. Monroe and Ms Odetoyinbo fill the theatre with their beautiful voices,touched my heart. Both actors play their characters over the course of many years, and the transition from youth to old age is flawless. 

Davron S. Monroe and Yewande Odetoyinbo
Photo Credit: Mark S. Howard

Roland Hayes was the grandson of slaves. He was stepping into a world that was not exactly welcoming to African Americans. At times he became discouraged. At one point he wanted to quit. In a moving scene he sings “Were You There When They Crucified My Lord”. It is here, when Hayes wants to pack it all in that Angle Mo says to him “Things being hard don’t give you the right to give up”. It’s tempting to call this “tough love’, but it’s not tough, rather it is  a strong and loving mother who believes in her son and knows he can succeed. He may not be fulfilling her wish of becoming a preacher, but he is using his God given gift to do much good. It is scenes like this that make this play so inspiring.

Breath & Imagination is not a detailed account of the life of Roland Hayes. What it does is give us good overview of his struggles, his doubts, his steadfastness, and his belief in himself. There were many times when that belief was shaken, but this was Angel Mo’s son, and he was not going to give up.

Davron S. Monroe and Yewande Odetoyinbo
Photo Credit: Mark S. Howard

The music that fills the Lyric Stage Theater is very special. Ms Odetoyinbo and Mr. Monroe are both excellent actors, and they are actors who can sing, and sing magnificently. I was deeply moved by both of them, as I was by this production. Listening to Angel Mo, as her days are winding down, singing “When I’m Gone” is both sad and joyful. Ms Odetoyinbo was very impressive. She is young but you would swear she has been at this for decades. She plays a very strong woman in Angel Mo while giving her character the deeply loving heart that makes us wish we all had an Angel Mo in our lives. The lucky ones do.

Davron S. Monroe was last seen at the Lyric in The Wiz. After seeing him in Breath & Imagination, I can’t sing his praises high enough. From the spirituals to the magnificent classical pieces, his voice comes to us from deep within his heart. In the time of Roland Hayes people were denied the opportunity to develop their talents all because of the color of their skin. Roland Hayes played a big part in changing that when it came to music. Mr. Monroe honors his great legacy by lending his talent to tell us that story. He also gives us the joy of music along with the lessons to be learned from this great man’s life.

Breath & Imagination is a must see. It will move you and I certainly hope it will bring the life of Roland Hayes to more people. The Lyric Stage is filled with music and love, take part in it. 

lyricstage.com 617.585.5678

Long Time Coming: Tony DeMarco To Finally Be Inducted Into Hall Of Fame

Tony DeMarco To Be Inducted

Into The 

International Boxing Hall Of Fame

By Bobby Franklin

Former Undisputed Welterweight Champion and Boston favorite son Tony DeMarco was known in his day campaigning in the professional ring as having  a devastating knockout punch. In 58 victories he kayoed 33 opponents. While he did go the distance on a number of occasions, no fight lasted as long as the time he has waited to be honored with an induction into the International Boxing Hall of Fame in Canastota, NY. Politics and personalities play a role in these things, but Tony is finally being recognized for the great champion he was and is. It is an honor he deserved long ago and, as the saying goes, all good things come to those who wait.

Tony will be inducted on the weekend of June 6, 2019. He will now be part of the Hall of Fame that includes his most famous rival and long time friend, the late Carmen Basilio. 

Tony With Trainer Sammy Fuller After Winning The Title

Tony’s boxing career was remarkable. During his 14 years in the professional ring he defeated eight world champions. The biggest of these victories came on the night of April 1, 1955 when he won the welterweight title from champion Johnny Saxton with a brutal 14th round knockout. It was an impressive performance in the Boston Garden just down the street from where Tony lived. He was magnificent that night putting on an outstanding performance. He had his shot at the title and was not going to let it get away from him.

During his 14 years in the professional ring he defeated eight world champions.

Later that same year he would lose the championship to Carmen Basilio. In the Basilio fight Tony was ahead on all the score cards and was headed to victory when he ran out of gas. The bout was voted Fight of the Year by Ring Magazine, and it was one of the most exciting ring battles of all time. Carmen and Tony became friends and remained close until Carmen’s death in 2012. 

It is important to remember that when Tony was champion there were only 8 recognized divisions with one champion in each of those different weight classes. In contrast to today when it seems like anybody with a couple of pro fights is called champion, Tony DeMarco was truly a world champion. 

Tony DeMarco was born January 14, 1932 on Fleet Street in Boston’s North End. His original name was Leonardo Liotta. He changed it so he could fight in the amateurs. He was too young at the time to compete as an amateur boxer, so he borrowed the name of a boy who was old enough. The name stuck and he continued using it for the rest of his life.

Tony Lands A Solid Right On Carmen Basilio

In a professional career that spanned the years from 1948 to 1962, the “Fury of Fleet Street” compiled a record of 58 wins, 12 losses, and 1 draw. Among his opponents, you will see listed, in addition to Basilio and Saxton, the names Johnny Cesario, George Araujo, Jimmy Carter, Chico Vejar, Vince Martinez, Gaspar Ortega, Denny Moyer, Don Jordan, Walter Byers, and Kid Gavilan. That’s a pretty amazing array of talent, and is just part of the list. With a pulverizing left hook, Tony was never in a dull fight. A Tony DeMarco fight was always an electrifying experience.

Tony With Hs Wife Dottie and Joe DeNucci

In 1962, Tony retired from the ring. For a time he lived in Phoenix, Arizona where he ran a successful night club. He later returned to Boston where he still lives with his lovely wife and best friend Dottie, not far from where he won the title. In 2011 his autobiography, Nardo: Memoirs Of A Boxing Champion, was published. If you haven’t yet read it I urge you to get a copy. It is a fascinating story. 

Tony DeMarco With Long Time Friend Mike Pusateri

Fleet Street has been renamed Tony DeMarco Way in his honor. On October 20, 2012 a statue of Tony was erected at the corner of Hanover and Cross Streets, the entrance to the North End. The beautiful statue represents just how well loved and respected he is by the people of Boston. 

The main criteria for induction into the Hall of Fame is a fighter’s record in the ring. By that standard alone Tony should have been inducted years ago. But there is more to being a champion than wins in the ring. A true champion also knows how to carry himself with dignity and a strong measure of character. Tony DeMarco passes this test with flying colors. He has never forgotten where he came from. He greets everyone he meets with a warm smile and is quick to answer questions and to share stories of his long and remarkable life. For a man who has received so many honors and accolades, he has never allowed it to go to his head. Tony is always Tony.

Tony DeMarco In A Contemplative Mood

On January 14 Tony DeMarco will turn 87 years old. The honor of being inducted into the Hall of Fame will be a great gift for him to celebrate. There is, however, an even greater gift he can cherish. That is the love the people of Boston have for him. No matter how many years have passed since he was champion, the affection shown him by those who live in Boston and those in the world of boxing has never faded, in fact it has grown. 

We are all very proud to know Tony will receive this honor, but he was in the Hall of Fame of the people of Boston years ago. We love you Tony and share in your joy!

The International Boxing Hall of Fame is located at 1 Hall of Fame Drive, Canastota, NY. The phone number is 315.697.7095. There website is: www.ibhof.com

Induction weekend runs from June 6 through June 9, 2019.


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Small Mouth Sounds

                                           

SMALL MOUTH SOUNDS

Opens At SpeakEasy January 4

            From January 4 through February 2, 2019, SpeakEasy Stage will proudly present the Boston Premiere of the hit Off-Broadway comedy SMALL MOUTH SOUNDS by Bess Wohl. 

Heralded as one of the Top Ten Plays of 2015 by The New York Times, SMALL MOUTH SOUNDS follows six strangers on a spiritual retreat for what they hope will be a life-changing week.  In the overwhelming quiet of the woods, they struggle to abandon technology and embrace silence under the tutelage of an unseen guru, who is having her own challenges with inner peace.  Though it employs very little dialogue, there is definitely nothing quiet about SMALL MOUTH SOUNDS, a luminous and compassionate new play that asks how we address life’s biggest questions when words fail us. 

SMALL MOUTH SOUNDS is the work of playwright Bess Wohl, a graduate of Harvard and the Yale School Drama whose roster of plays includes American Hero; BarcelonaTouchedInCats Talk Back; and the original musical Pretty Filthy (in collaboration with Michael Friedman and The Civilians). Her work has been produced or developed at Second Stage, Ars Nova, The Williamstown Theatre Festival, The Geffen Playhouse, and others.  Bess also writes for film and television and has developed projects for HBO, ABC, USA, Disney, Paramount, and others.  

M. Bevin O’Gara will return to Boston to direct the Boston Premiere of SMALL MOUTH SOUNDS. A former Associate Producer for the Huntington Theatre, Ms. O’Gara is currently the Producing Artistic Director of the Kitchen Theatre Company in Ithaca, NY. Her many directing credits include: The Bridges of Madison County, appropriate, A Future Perfect, Tribes (Elliot Norton and IRNE Awards for Best Production), and Clybourne Park (SpeakEasy Stage);  GirlfriendIronbound, the world premiere of Brawler, and Brahman/i  (Kitchen Theatre); The Who and The What, Milk Like Sugar (Elliot Norton Award nomination for Best Production), and Becoming Cuba (Huntington Theatre); You for Me for You, Love Person, and The Pain and the Itch (Company One).  

Norton Award-winners Barlow Adamson, Marianna Bassham, and Nael Nacer headline an all-star Boston cast that also includes Kerry A. Dowling, Celeste Oliva, Sam Simahk, and Gigi Watson.  

SMALL MOUTH SOUNDS will run for five weeks, from January 4th through February 2, in the Roberts Studio Theatre in the Stanford Calderwood Pavilion at the Boston Center for the Arts, 527 Tremont Street in Boston’s South End.

For tickets or more information, the public is invited to call the box office at 617.933.8600 or visit www.SpeakEasyStage.com .                 

“A Doll’s House, Part 2” Opens At Huntington Theatre

Huntington Theatre Company Presents The Hit Broadway Comedy 

A Doll’s House, Part 2

The 2017 Tony Award nominee for Best Play and the most-produced play of the 2018-2019 season, A Doll’s House, Part 2 makes its Boston debut at the Huntington Theatre Company at the Avenue of the Arts / Huntington Avenue Theatre (264 Huntington Avenue, Boston) in a co-production with Berkeley Repertory Theatre. Written by Tony Award nominee Lucas Hnath and directed by Obie Award winner Les Waters, performances will run January 4 through February 3.

Nora famously slammed the door on her marriage, leaving her husband and children behind in Ibsen’s groundbreaking classic, but what happened to the iconic heroine next? Named one of TIME Magazine’s Top 10 of 2017, A Doll’s House, Part 2 imagines her 15 years later as a successful writer and independent woman. Nora is urgently seeking to finalize her divorce, but first her estranged family has grievances to air.

This smart and sophisticated new comedy raises fascinating questions about marriage and the ways the roles of women have – and haven’t – changed. Audiences will enjoy this “smart, funny, and utterly engrossing play” (The New York Times) regardless of their familiarity with Ibsen’s play and the undeniable legacy Nora’s exit left behind.

Thanks to his “audacious Broadway debut” (The Hollywood Reporter) with A Doll’s House, Part 2, Lucas Hnath has become the most produced playwright in the country this season. Next for Hnath is his highly anticipated return to Broadway with Hillary and Clinton which opens this spring.

“We are thrilled to bring this hilariously eloquent play to Boston – a playful debate on marriage, gender roles, and what makes up the modern mating dance,” says Peter DuBois, Huntington Artistic Director. “Somehow Lucas Hnath has made it possible to take one of the most familiar pieces of dramatic literature in history and breathe new and exciting life into its iconic characters. Under the skillful direction of Les Waters, this company brilliantly highlights the relevance of this play in our society today with a stealth balance of humor and empathy.”

Hailed as a “classic for our time and for the ages” by The San Francisco Chronicle, this production of A Doll’s House, Part 2  features frequent Huntington favorite Nancy E. Carroll (Ripcord, Present Laughter at the Huntington) as Anne Marie, Mary Beth Fisher as Nora (How Shakespeare Won the West and The Birthday Party at the Huntington), John Judd as Torvald (Shining City at the Huntington), and Nikki Massoud (Huntington debut) as Emmy.

huntingtontheatre.org     617 266 0800

“The Wolves” Opens At The Lyric Stage January 11

An all-girls soccer team . . . fierce in competition and in life.

The Wolves

by Sarah DeLappe

Directed by A. Nora Long

At The Lyric Stage January 11 Through February 3

Left quad. Right quad. Lunge. A girls’ indoor soccer team warms up. From the safety of their suburban stretch circle, the team navigates big questions and wages tiny battles with all the vigor of a pack of adolescent warriors. As the author says, “I wanted to see a portrait of teenage girls as human beings – as complicated, nuanced, very idiosyncratic people, athletes and daughters and students and scholars and people who are trying actively to figure out who they are in this changing world around them.

The Wolves runs at the Lyric Stage, Copley Square, Boston from January 11 through February 3. 

www.lyricstage.com  617.585.5678

Box Office: 617-585-5678

ox Office: 617-585-5678

MANUAL CINEMA RETURNS TO BOSTON WITH THE END OF TV

COMPANY BRINGS ITS INNOVATIVE AND CINEMATIC STORYTELLING BACK TO ARTSEMERSON
JANUARY 16 – 27, 2019
EMERSON PARAMOUNT CENTER
ROBERT J. ORCHARD STAGE 

(Photo Credit: Judy Sirota Rosenthal)

ArtsEmerson, Boston’s leading presenter of contemporary world theatre, is excited to announce the return of Manual Cinema with their production, The End of TV.After thrilling Boston audiences with Ada/Ava in 2018, the ingenious artists of Manual Cinema cast a theatrical spell through live-action silhouettes, video feeds, overhead projection and a five-piece band performing an original score with their new creation. 

Set in a post-industrial Rust Belt city in the 1990s and told through a collection of original 70’s R&B-inspired art pop songs, The End of TV explores the quest to find meaning amongst the increasingly constant barrage of commercial images and advertising white-noise. Manual Cinema combines handmade shadow puppetry, cinematic techniques, and innovative sound and music to create this immersive experience for audiences. Chicago Tribune calls it “the very retro-coolest and most creatively compulsive show.” 

“I love the imagination of artists, and the artists of Manual Cinema specifically,” says ArtsEmerson artistic director David Dower. “They’ve invented a form out of the simplest of tools, animated it with the pure joy and abandon found in child’s play, and the result is fresh, fun, and surprisingly moving. The techniques here will be familiar to fans of their earlier work, but they continued to evolve their style with The End of TV, introducing new elements to the mix. And they’ve harnessed it to a timely story that sweeps over us and carries us away. I’m so happy they were able to come back so soon after their debut at ArtsEmerson last season.” 

The End of TV depicts the promise and decline of the American rust belt, through the stories of Flo and Louise, both residents of a fictional Midwestern city. Flo is an elderly white woman who was once a supervisor at the thriving local auto plant. Now succumbing to dementia, the memories of her life are tangled with television commercials and the “call now” demands of QVC. Louise, a young black woman laid off from her job when the same local auto plant closes, meets Flo when she takes a job as a Meals-on-Wheels driver. An unlikely relationship grows as Flo approaches the end of her life and Louise prepares for the invention of a new one. Their story is intercut with commercials and TV programs, the constant background of their environment. 

The End of TVruns just two weeks at the Emerson Paramount Center’s Robert J. Orchard Stage located at 559 Washington Street in downtown Boston. For more information go to www.ArtsEmerson.org, by phone at 617.824.8400, or in person at the box office.

THE MAGIC MAN TALKS BOXING: MY INTERVIEW WITH MARLON STARLING

Marlon Starling Interviewed by Mike Silver for Boxing Over Broadway 

    

Marlon Starling

Former welterweight champion Marlon Starling was the fifth boxer from Connecticut to win a world title. Louis “Kid” Kaplan, Pinky Silverberg, Batt Battalino and Willie Pep all won their titles during the golden age of Connecticut boxing from the 1920s to the 1940s. During that time the “Nutmeg State” was home to many other outstanding boxers including Lou Bogash, Ted Lowry, Chico Vejar, Julie Kogon, Johnny Cesario, Vic Cardell, Larry Boardman and Bernie Reynolds.   

     Marlon Starling is far removed from that era, nevertheless he could accurately be described as “old school”. There were few soft touches during his ascent to the title. He accomplished his goal the old fashioned way—he earned it. Along the way be became one of the top professional boxers of the 1980s.   

      Before turning pro Marlon reportedly won 97 of 110 amateur bouts. His professional career spanned 11 years (1979-1990). He lost only 5 of 52 professional fights and stopped 27 opponents.  Only one of his five career losses (all by decision) resulted in a unanimous verdict. He drew in two other bouts.

In an era of tough welterweight competition Marlon Starling stood out among his peers.

     Marlon won his first 25 fights before losing a split 12 round decision to future welterweight champion Donald Curry in 1982. He defeated his next six opponents (flattening four of them) and looked very impressive stopping hard punching Jose Baret and outpointing Kevin Howard over 12 rounds. 

     The rematch with Curry for the world title resulted in another decision loss for Starling. The Dallas hotshot seemed to have Marlon’s number. But showing the patience and persistence that was the hallmark of his stolid fighting style Marlon got back on track with wins over Lupe Acquino, Floyd Mayweather, Sr., Simon Brown and Pedro Vilella. 

     In 1987 he defeated Mark Breland in a torrid battle for the WBA welterweight title, stopping the former Olympic champion in the 11th round. Less than a year later he won the WBC welterweight belt with a 9th round TKO of England’s Lloyd Honeyghan.  

    Moving up in weight Marlon challenged IBF middleweight champion Michael Nunn but lost a majority 12 round decision. Four months later, on August 19th, 1990, in the final fight of his career, Marlon lost the welterweight title to Maurice Blocker via another majority decision. 

    In an era of tough welterweight competition Marlon Starling stood out among his peers. Let’s read what he has to say about his career.

Interview:

Mike: Marlon, let’s start by talking about some of your most important fights. In 1982 you lost a split 12 round decision for the North American welterweight title to Donald Curry. It was your first loss in 26 professional fights. A year later you lost a 15 round unanimous decision to Curry, this time for the world title. Was he your most difficult opponent?

Marlon: Not difficult. Donald Curry was my most challenging opponent. That’s because Donald was a boxer like me. He did nothing great, but everything good. That was the kind of fighter I was. It was like fighting a mirror image of me. I mean he wasn’t a dynamite puncher. He didn’t have a great hook, didn’t have a great left jab, but everything was good. 

Mike: Often when boxers have similar styles it doesn’t make for an exciting fight. In fact, the New York Times reporter called it a “dull” fight. 

Marlon: I believe I won that first fight. I mean I didn’t get the decision but I know in my heart I won that first fight. But at the time Don Curry was a big Bob Arum fighter so he got the decision. The second fight was a different story. I lost that second fight more than he won it. Curry prepared himself better than I did for the second fight, even though I was prepared. He won a very close 15 round decision. My trainer kept saying ‘back him up, back him up’. But the problem was I couldn’t back him up. He was a little stronger than me in that fight. So he retained the title. I got out of the ring that day and for the first time in my career, maybe after 30 fights, said to myself ‘Wow, that guy beat me!’ And that was something that was tough for me to cough up.” 

Mike: You didn’t let that defeat slow you down. Over the next two and a half years you won 10 of 12 fights culminating in your 11th round TKO victory over Mark Breland on August 22, 1987 for the welterweight championship. Before turning pro in 1984 Mark Breland had won every amateur title including an unprecedented five New York Golden Gloves championships and an Olympic gold medal.

Marlon: I knocked him out but I still got the worst ass whippin’ I ever took. His jab hurt like most guys right hand, and he was hitting me with that jab. His jab broke my nose. I should have boxed the man, worked my way in, feint the man, and do all this, but at the time I wanted that world championship. I got it, but I had to pay to get in. My strategy was to wear him down with body punches. Once I got inside I was banging that body. I didn’t like to pay the price but I had to.  

Mike: You also had a huge edge in professional experience—45 pro fights and 287 rounds to his 18 fights and 76 rounds. And you had fought tougher competition. 

Marlon: Yes, my experience was a factor but also my professionalism, my conditioning and my willingness not to quit. But you know what? Mark Breland became one of my best friends. We talk every other week. He is a good man. I respect him to the utmost. 

Mike: You fought a rematch with Breland eight months later that ended in a 12 round draw. Most observers thought you deserved the decision.  

Marlon: Mark was a bit better in the second fight. I was better too and got hit less this time. I deserved to win that fight but he was an Arum fighter and they didn’t want him to lose. 

Mike: Your victory over Breland won you partial recognition as welterweight champion. England’s Lloyd Honeyghan had defeated your nemesis Donald Curry two years earlier and was recognized as champion by a rival sanctioning group. In early 1989 you and Honeyghan met to unify the title. You stopped him in the 9th round.  Tell me about that fight: 

Marlon: Now Lloyd Honygan was a whole different ball game. I knew I was going to beat him up.  

Mike: I recently watched a tape of the Honeyghan fight and you weren’t doing much for the first 3 or 4 rounds. Was that part of your strategy? 

Marlon:  The first two rounds I was just getting his technique…see what he’s doing…getting his timing down…getting his moves down. Lloyd was a good puncher but what good is a puncher if he ain’t gonna hit you? It’s all about hit and don’t get hit. I didn’t want to get careless. One time I did get careless and he hit me on top of the head and buckled my feet a little bit. Lloyd was a southpaw and every time he threw that right jab I’d counter with a right cross. If I showed him a feint and he put that left hand out I countered with the right. By the 5th or 6th round if I said jump he’d jump. He was actually waiting for it to happen. I mean by the 5th round I had this guy scared to punch. I was not what you’d call a knock out fighter but I’d get your attention with everything I’d throw. 

Mike: Honeyghan had a big reputation coming into that fight, running up a string of impressive victories including a TKO of Donald Curry. Do you consider the Honeyghan fight your greatest career accomplishment? 

Marlon: Most fans would think that but Lloyd Honeyghan was one of my easiest fights ever as a professional. I mean he played right into my hands. Maybe I was just so eager and wanted to get him so bad. I was sharp that night. I would rather get knocked out than take a beating like he did. Nobody needs to take a beating like that. I know he wore that fight for a long time.” 

Mike: About a year after your victory over Honeyghan you put on 10 pounds and challenged middleweight champion Michael Nunn. You lost a 12 round decision. That was the only time you ever fought as a middleweight. 

Marlon: I was at the point where I said to myself there is nobody else in the world that can beat me at welterweight so I moved up a weight class to fight Nunn. What did I have to lose? He wasn’t a big puncher and I believed I could beat this guy even though he was undefeated and a southpaw. But he was a little quicker than I thought and a lot taller. That’s not an excuse why I lost that fight. In the middle of the third or fourth round I had him in the corner and I took my gloves and I like dug them into his face and he said to me, ‘c’mon man fight fair’. I decided to just get in there and box him.  I turned the fight into a sparring session. I didn’t go get him like I should have. That particular day he was a little sharper than I was. He won that fight because he worked harder. But you know what? After the fight we went out and had dinner together. 

Mike: Who trained you?

Marlon: My first trainer was Johnny Duke. He trained me as an amateur and in my early years as a pro. For a little while Eddie Futch trained me but we had a falling out and I let Eddie go. After that Freddie Roach, who worked with Eddie, became my trainer. But for most of my career my trainer was Marlon Starling. They just had to keep me in line with the training regimen. Whatever happened in my career happened for a reason. When I got with Freddie I finished with Freddie. He didn’t have to do a lot to get me ready—just sharpen me up. We were friends. 

Mike: What do you think of today’s top fighters? Do any of them stand out? 

Marlon: I watch the fights on TV now and then but I couldn’t tell you. There are too many champions. If one of them walked by me I would ask ‘who was that?’ I mean when I was fighting I knew everybody in the top ten. Now I don’t know who they are. That doesn’t mean I’m trying to degrade anybody. I just don’t know. But from what I see when I do watch the fights a lot is missing. They have a title but they don’t have the skills.

Mike: What is missing?

Marlon: I don’t see things that they should have been taught to do years ago. Listen, you can win a title with a three punch combination— left jab, right cross, left hook. You don’t see too many people throwing that combination. You don’t even see a double jab. If you throw a punch you have to bring it back from where you threw it, because if you don’t I’m going to make you pay for it. If you throw that right hand out you’ve got to bring it right back to your face. A lot of times I see a fighter throw the right and it comes back to his chest. I will counter punch you all day if you do that. You’ll be afraid to throw punches if I was in the ring with you. If all you know is “fight” I can beat you. I’m not going to fight you. I’m going to box you and win. Most of the guys when under pressure all they know is “fight”. They don’t know the professionalism of being a good boxer. Anybody could fight. Dogs fight. You’ve got to outthink the other fighter. What I mean by outthink is that sometimes you have to outfight your opponent. I’m not fighting with a guy that punches like hell. I’m going to box you, until you get tired, and then I’m going to fight you. I was a thinking fighter. I didn’t fight the fighters and I didn’t box the boxers. 

      “Today’s boxers have more toughness than knowledge. You can be tough. I love to fight the tough guys because they don’t have the knowledge. A good right hand, a good jab, and a good left hook. You have those three punches you can go places. If you don’t have a great jab it’s like training with one arm. Everything works off the jab, at least as far as I’ve been taught.”

Mike: I noticed in reviewing your fights that you rarely got trapped on the ropes or in the corner. 

Marlon: Ring generalship. Like I told people – ‘this is my house (the ring)’. I live here. I know that square. I got radar in back of me telling me ‘you’re coming close to the ropes, you’re coming close to the corner.’ You had to know these things.” 

Mike: You were very strong at 147 pounds. You had huge shoulders and a powerful physique. Many fighters today lift weights to increase strength. Did you ever lift weights as part of your training routine?  

Marlon: No, never. You know lifting weights tighten you up. I got most of my strength and power from punching the bag and training.”

Mike: You were sometimes criticized for showboating during a fight. In fact, your occassional clowning may have cost you the first Curry fight. Did you do it to play to the audience or confuse your opponent? 

Marlon: I don’t showboat. It’s all right if you do a move and knock the guy out– then it’s all right. But if something doesn’t happen then you’re accused of showboatin’. Sometimes it’s just in your rhythm. You couldn’t tell me ‘Oh Marlon do the Starling Stomp.’  I mean it wasn’t planned.  I was just in the moment. Emotions come with this sport. I wasn’t trying to showboat. I was just trying to be me trying to get what I can get out of this guy. 

Mike: In 1980, in only your sixth pro fight, you had the misfortune of fatally injuring your opponent Charley Newell. He never recovered from the brain injury and passed away nine days later. In spite of this tragedy you made the decision to continue with your career. 

Marlon: I had previously fought him in an amateur fight when he was in prison. Charley Newell was a bully on the street but to me he wasn’t a bad person. We fought at the Civic Center in Hartford. I think it was January 9th. I hit him with a combo and knocked him out. I was working a job at that time and I went to work the next morning and I got a call that Charley Newell had passed away and that really bothered me. My parents always worried about what’s going to happen to me. I never worried about it. I came back for his funeral and his parents came up to me. His mother said to me ‘my son passed away doing something that he loved to do, don’t ever stop what you want to do.’ What she told me gave me the confidence to continue with my career. 

Mike: Tommy Hearns was welterweight champion while you were an up and coming prospect. You weren’t ready to take him on but you did spar with him while he was preparing for the Sugar Ray Leonard fight in 1981. What did you learn from that experience?   

Marlon: I got an offer to go to Vegas to work as a sparring partner and help Hearns get ready for Leonard. It was an opportunity for me to see what I could do with the ‘big boys’ out there. I sparred with Tommy and he broke my jaw but they knew I got the better of that sparring session. How do I know? They kept Milton McCrory far away from me after that. (Author’s Note: Milton McCrory, a future champion, was Hearns’s stablemate and a rising star in the welterweight division).  

Mike: A few years after that sparring session you were ready to challenge Hearns or Leonard but you never fought them. Why not?

Marlon: Marlon Starling fought everyone out there. The reason why I didn’t fight Leonard or Hearns is because my name wasn’t that big. I trained with Tommy but they just didn’t want to take a chance and give up something they had. That’ why they didn’t fight me…they couldn’t make a lot of money fighting me. 

Mike: Marlon, you lost the welterweight title to Maurice Blocker in your very last bout on August 19, 1990. The 12 round majority decision was very close and could have gone either way. You were only 30 years old and still a top rated welterweight. Why did you decide to retire? 

Marlon: I don’t think he won but it wasn’t one of my best fights. I quit the ring because the promoters and managers were making more money than me and they weren’t taking the punches.

Mike Silver is the author of The Arc of Boxing: The Rise and Decline of the Sweet Science and Stars in the Ring: Jewish Champions in the Golden Age of Boxing. Both books are available on Amazon.com.


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Review: “Small Mouth Sounds” SpeakEasy Stage Company

Silence Is Golden With

Small Mouth Sounds

At SpeakEasy Stage

Review by Bobby Franklin

Cast Of Small Mouth Sounds
(Photo Credit: Nile Scott Studios)

As Bess Wohl’s unique play Small Mouth Sounds now playing at the SpeakEasy Stage begins, six people arrive at a resort in the country for a “silence retreat”. The set is a yoga studio with a small platform toward the rear with six chairs. As each participant arrives they take a yoga mat and find some space on the floor. With the exception of two friends who arrived together, they have never met before. There is some dialog at first, but then the “Teacher”  who remains unseen throughout the play speaks to them via a speaker. They are given a list of rules that include no talking for the time they are there. This makes for an original, funny, and touching play. Her telling of the Frog Parable is a riot.

With few exceptions, the actors perform without speaking a word. They do not do mime, but rather resort to doing what we all would do; they improvise ways of communicating without speaking. At times this is like being in a country where you don’t speak the language and are asking for directions. Beyond that, they also convey emotions with body language and facial expressions, some are extremely funny, others very touching. 

Ned (Nael Nacer) and Rodney (Sam Simahk)
Photo Credit: Nile Scott Studios)

Watching as they struggle to at first overcome the awkwardness of sharing space with strangers, something that goes with gatherings such as this, while not being allowed to communicate is a bit uncomfortable. It is something we have all had to deal with at one time or another, though usually not with the restriction on speaking. Of course, awkwardness does make for funny moments. Angry, puzzled, and inquiring looks are exchanged. The personalities of the characters are quickly revealed, while the emotional suffering that brought each one there is not brought out until much later.

Ironically, the one character with  the most lines, the Teacher (Marianna Bassham) remains unseen. The tone of her voice moves from New Age guru to prison warden to frustration and emotional pain throughout the play. The one who is there to teach how to deal with inner turmoil has much of her own.

The name of only one of the six characters was revealed in the course of the play, but they are all named in the program. There is Ned (Nael Nacer) who never takes his hat off, there is a reason for this that is part of his story, Joan (Kerry A. Dowling) and Judy (Celeste Oliva) who have come together and are dealing with stress to their friendship/relationship. Jan (Barlow Anderson) who at first doesn’t appear to be suffering, Rodney (Sam Simahk) a Youtube yoga celebrity who is going through relationship issues, and Alicia (Gigi Watson) who is young and vulnerable while dealing with a breakup. It is quite remarkable to witness how each is able to convey so much about their character while not speaking. There is a particularly touching moment when Jan reveals to Judy the reason for his suffering. He does this with one simple gesture and yet it is incredibly moving. 

The entire cast is excellent while Nael Nacer is just wonderful with his many facial expressions and body movements. I would describe him as a clown in the best definition of the term in that he gives such a broad array of emotions while not speaking. His performance is top notch, and while not speaking, he is also the one character outside of the Teacher, who does have a scene where he speaks to some extent. It is a revealing talk about what brought him to the retreat. 

There is much that is funny in Small Mouth Sounds as well as much that gives reason to reflect.

There is much that is funny in Small Mouth Sounds as well as much that gives reason to reflect. The idea of taking an extended period of time away from distractions such as our electronic devices as well as not being allowed to communicate verbally is really quite a daunting thought in our 24/7 social media world. While there is much to laugh at in the play, I sense that to a certain degree the audience laughter comes from their own feelings of discomfort with the silence. 

While Small Mouth Sounds is somewhat of a parody of New Age style retreats, it is also a reminder that maybe we should spend more time in quiet thought and accept that we can be comfortable with ourselves while facing our inner pain.

Director M. Bevin O’Gara must have felt it a challenge to direct a work that relies almost entirely on body language, but she pulls it all together. Whether you are comfortable sitting in the lotus position on a yoga mat or think this sort of stuff is only for granola eating Cambridge types, you will enjoy this play. By the conclusion you will not be able to help yourself from doing some self reflection. You’ll also be smiling and glad you saw moving and thoughtful play. 

Small Mouth Sounds 

Through February 2

SpeakEasy Stage Company

Calderwood Pavillion

527 Tremont Street

Boston’s South End

617.933.8600

speakeasystage.com

Seaglass Chorale Call For Singers

Seaglass Chorale Seeking Singers For Upcoming Concert

Seaglass Performing Arts Chorale, conducted by Artistic Director and Founder Jean Strazdes, is seeking singers to join its musical community in preparation for its 2019 concert performance of Carl Orff’s Carmina Burana. The April 28, 2019 performance will be the premiere concert at the new Performing Arts Center at Sanford High School in Sanford. The Chorale will be collaborating with the Chamber Singers of Sanford High School under the direction of Jane Kirton.

The first rehearsal for Carmina Burana will be at 5:30 pm on Sunday, January 13th, at Holy Cross Lutheran Church on Storer Street in Kennebunk.

For more information, stop in on Sunday, January 13th, or call 985-8747. You can also check their website at seaglassperformingarts.org or visit us on Facebook.
Seaglass Chorale is a non-auditioned chorus.
Seaglass Performing Arts
Post Office Box 265, Kennebunk, ME 04043 Seaglassperformingarts.org
Seaglass is a 501c3 non-profit organization

Review: “The End Of TV” At ArtsEmerson, Boston

 

A Warm And Touching Story
Of Two Lives Connecting
Now Playing At ArtsEmerson

 

The End Of TV
By Kyle Vegter and Ben Kauffman
Created by Manual Cinema
Through January 27
ArtsEmerson
Emerson Paramount Theater
Boston

Reviewed by Bobby Franklin

Photo Credit: Judy Sirota Rosenthal

If you were to just sit and listen to the original music and lyrics composed by Ben Kauffman and Kyle Vegter that accompanies The End Of TV, that alone would be a pleasurable experience. But having that music along with the story that grew from it makes for an incredible evening of theatre.

Now being presented by ArtsEmerson at the Paramount Center in Boston and created by Manual Cinema, The End Of TV is certainly one of the most original works you will see this season. Combining that sublime score with visual effects that include shadow puppets, overhead projectors, actors performing in silhouette, and a touching and moving story, it leaves you with 75 minutes of theatre that is deeply moving.

The story, set during the 1990s in the Rust Belt, focuses on Flo (Kara Davidson), a retired factory worker who spends her days watching home shopping channels on her TV, and Louise (Sharaina L. Turnage), a recently laid off factory worker who has taken a job working for Meals On Wheels. Flo is slipping into dementia and her world is her television set. Louise is working to reinvent her life.

Photo Credit:Judy Sirota Rosenthal

Louise meets Flo while delivering meals to her, and at first their contact is brief, limited to the time it takes Louise to drop off Flo’s dinners. The two actors have no lines and are seen in silhouette projections on a screen hanging above the stage. The audience can see what is going on behind the scenes as the actors work in front of backdrop where their actions are captured and projected onto the overhead screen. The story is told with these images along with shadow puppets and scenes from television. It is remarkable to see the large array of emotions and expressions that are conveyed by the actors’ body movements. The lack of dialog and facial expressions actually enhances the emotional effect. A simple wave of the hand as a greeting gives the sense of connection that is building between the two women. It is fascinating to watch.

The only dialog is from the actors portraying the people from the home shopping channel and 1990’s TV programs who are also projected onto the screen. There are even appearances by the Jolly Green Giant. The five piece orchestra is on stage throughout the performance. The sound from a television can be heard throughout giving us the feeling of what it is like to be living in Flo’s world.

We also learn about Flo and Louise through flashbacks. Flo had worked in the factory during WW II. It appears it is the same factory Louise was laid off from. Both have had ordeals to overcome, and I was struck by the quiet strength of each.

The bond that grows between the two during the brief visits by Louise shows how important even a simple gesture of kindness can be. The fact that this is being done through silhouettes and without words makes it all the more touching.

Photo Credit: Judy Sirota Rosenthal

Discussing the subject of aging and the onset of dementia can make people very uncomfortable in today’s society. Not so in The End Of TV. There is a raw honesty to this work that allows us to watch and understand what happens in life as the aging process sets in. Seeing how much simple acts of kindness can mean to a person shows the importance of being connected to one another. And this is not just about what Louise does for Flo, but it also how Louise finds strength and hope in communicating with Flo.

While dealing with sad topics, this is not a sad play; It is heart touching and hopeful. The use of shadow puppets interspersed with the actors give it a childlike innocence that helps to simplify the complexities of the story. The warmth that comes from witnessing Flo and Louise connecting serves to remind us of our capacity for kindness and understanding, something that we tend to lose touch with in this fast paced world. There is so much to be given to and learned from one another. In my mind I still have the image of Flo and Louise gently waving to one another, so simple yet so very moving.

After the performance, the audience is invited onto the stage to speak with the actors and to see how it was all done.

Creative, unique, fascinating, humorous and touching, this is a work that will capture your heart. The End Of TV is one of the high points in a very rich Boston theatre season. It is a beautiful work and I highly recommend it.

For more information:
617.824.8400
artsemerson.org

“When Angels Fall” Coming To ArtsEmerson

ArtsEmerson Presents The New England Premiere

Of

When Angels Fall

A Delightfully Dark And Mesmerizing Feat Of Visual Storytelling

Created And Directed By Raphaelle Boitel

Photo Credit:Sophian Ridel

ArtsEmerson is hosting the New England premiere of When Angels Fall, a riveting tale of flightless angels surviving in the wake of a global collapse. 

As a mesmerizing contortionist and aerialist herself, French creator and director Raphaelle Boitel’s storytelling is singular, and her ability to transform space in the air to the ground with large scale illusions along with bodies streaming across the stage is magical. Boitel brings her spellbinding visual storytelling (no words are uttered on stage) for five performances only, February 20-24, at the Emerson Cutler Majestic Theatre, 219 Tremont Street, Boston.

Blending circus, dance, and cinema, When Angels Fall is a dystopia where the resilience of the human spirit is pitted against the sterile and mechanical. Drawing inspirit from such disparate artists as Pina Bausch, David Lynch and her long time collaborator, James Thierree, This delightfully dark and entrancing theatrical premiere explores how the beauty of let go gives us the strength we need to rise. When Angels Fall will summon laughter and awe during its harsh descent from the heavens.

“I was delighted to discover the work of Raphaëlle Boitel on her last US tour,” says Artistic Director David Dower. “There is a freshness of voice and of spirit alive in her that charms and powers the deep, dark, hallucinatory beauty in her work. Boston audiences are well-versed in the elements she’s mixing to create her visually stunning and dream-haunting pieces. She’s combining aspects of circus, modern dance, and multimedia performance— but her results are entirely new to us. I am excited to introduce a fast-rising female-led company to the city.” 

For more information:

617-824-8400, ArtsEmerson.org 

Gregorio Peralta

Gregorio “Goyo” Peralta

The Ring Was His Stage

By BobbyFranklin

Argentina has not exported a lot of boxers, but the ones that have come from the land of Carnival have been very talented. In 1923 Lus Angel Firpo traveled to New York City to challenge Jack Dempsey for the heavyweight title. The Wild Bull of the Pampas was knocked out by Jack in the second round, but before being stopped he managed to knock Jack clean out of the ring. 

Pascual Perez won an Olympic Gold medal in 1948 and went on to become the first world champion from Argentina when he won the title in 1952. Two other world champions would follow in his footsteps, middleweight Carlos Monzoon and light heavyweight Victor Galindez. Heavyweight contender Oscar Bonavena and light heavyweight Jorge Ahumada were also from Argentina.

All of these boxers were very skilled, with  Monzoon and Perez often mentioned as all time greats. Each of them either won or challenged for world titles.

Gregorio Peralta was another Argentine who knew his way around a boxing ring. Born in 1935, Goyo began boxing as an amateur while in the navy. He won numerous titles before turning pro in 1958. Gregorio was immediately a rising star and very popular. In his first 16 bouts he was only defeated once and that was by decision to Justo Benitez. He would go on to defeat Benitez three times. 

In his 17th bout, Peralta was matched with Peruvian Mauro Mina. Mina was arguably the greatest fighter to come from South America. Goyo was stopped in the 8th round. This was only one of three times he was stopped in what would be a career that consisted of 116 fights. He went on to defeat Mina in a rematch, being one of only three men to beat Mina and the only one to defeat Mina in his prime.  His other stoppages were on cuts to Willie Pastrano in a title fight, and in the 10th round against George Foreman in their second fight. In almost 20 rounds against the much larger Foreman, Gregorio was never knocked off his feet. 

Peralta had an educated left hand, that he put to good use while throwing jabs and hooks.

Gregorio Peralta was a very cagy boxer. He moved around the ring in a very relaxed fashion and used feints and head movement. Peralta had an educated left hand, that he put to good use while throwing jabs and hooks. He would often lead with the hook firing it from a straight up position similar to what Conn did in his first fight with Louis. Another tactic he used was to move in behind a jab and then step forward moving his right foot ahead of his left. This would put him into a southpaw stance for just a moment where he would unleash a combination. It was quite an effective strategy which he used in his first fight with Foreman. Always remaining loose, it was very difficult to hit him with a solid shot.

In 1963, after compiling a very solid record in South America, Peralta made his debut in the United States where he was matched against World Light Heavyweight Champion Wille Pastrano. The bout, held in Miami, was a non-title affair. Gregorio was very impressive while easily defeating Willie over ten rounds. 

Pastrano and Peralta For The Title

He would then go on to defeat top contender Wayne Thornton twice before getting another match with Pastrano, this time for the title. The fight was held in the champion’s home town of New Orleans, and there was some controversy over how it ended. Peralta was reportedly ahead on points when he was cut over his left eye. The referee stopped the bout at the end of the fifth round. Peralta’s manager claimed the referee, while examining the cut, used his fingers to make it worse. Gregorio never made any excuses for the loss, only saying he felt he could have gone on.

In his next 43 fights Peralta suffered only one loss (to heavyweight Oscar Bonavena) but never got another chance at the title. It was a case of being too talented for his own good. Though he had begun to grow out of the light heavyweight division, he never became a full fledged heavyweight. Today he would be a cruiserweight. 

Bonavena vs Peralta

He and Bonavena fought to a draw in a rematch which led to talk of  getting a fight with then WBA Heavyweight Champion Jimmy Ellis. That certainly would have been an interesting fight and Goyo would have had a real shot at winning the title. Instead, he was matched with up and coming contender George Foreman. Big George had only 15 fights at the time, but was winning them in devastating fashion. He was also taller and heaver than Peralta.

On February 16, 1970, when Gregorio stepped into the ring to face Foreman, he looked more like an actor making his entrance onto the stage for a performance in a play by Shakespeare than a man about to engage in the most violent of sports. The Argentine with the movie star good looks had his hair carefully combed. He was calm and walked around the ring smiling. When introduced he took bows while holding his hand out. Maybe he thought he was at one of the Broadway Theaters. His performance after the bell rang that night would have certainly gotten him a Tony Award nomination as he put on a brilliant display of boxing skills. 

Peralta Stepping Into His Southpaw Stance Against Foreman

Big George, as was his fashion back then, came out strong looking to end matters quickly. Goyo had other ideas and avoided Foreman’s charge like  a matador avoids a bull. For the first five rounds Peralta relied mostly on his left hand. He was not dancing away from George as much as he was taking steps around him. Gregorio would throw quick hooks to the head and body and then clinch when things became dangerous, Peralta used his left hook and his switch to southpaw move to neutralize Foreman’s power. George was getting in good shots, many to the kidneys. Gregorio’s hooks to the body took some of the steam out of big George, but the future champ was still pounding away himself. In another nod to the stage, at the end of a number of rounds Peralta would take a bow and extend his arm out as if expecting an ovation for his performance. He deserved one.

In the fifth round Peralta opened a cut over George’s left eye. In the sixth round, Goyo started landing with his previously dormant right hand. It had turned into a very interesting fight, a classic between a wily old veteran and a powerful up and comer. 

In the end, Peralta’s need to use defensive tactics to hold George off cost him the decision, though the crowd booed when Foreman was announced the winner. The decision was fair but the scoring was ridiculously one sided. It was a much closer fight than what the judge’s cards would have you believe. It was a marvelous performance by Peralta. It’s also a very interesting fight to watch.

The two would meet again seven months later, and this time Foreman would stop Peralta in the tenth round, but not before once again having difficulty with him. 

Ali and Peralta In Barcelona

Gregorio would continue campaigning as a heavyweight. He moved to Spain where he beat Jose Manuel Urtain and Gerhard Zech among others. There was talk of a fight with Muhammad Ali but that never materialized; however; the two did put on an exhibition match in Barcelona. 

As his career was winding down Peralta dropped a decision to Ron Lyle, and in his last fight Goyo fought a draw with Lyle. That was in 1973.

Eventually, he moved back to Argentina where he ran for political office. A soft spoken yet charismatic man, he was well loved in his home country. His final record in the ring stands at 119 total bouts, 98 wins (60 knockouts), 9 losses (3 by stoppage), and 9 draws, a remarkable career. He was one of those fighters who would have easily been a world champion if the timing had been better, though I get the feeling he might have preferred a career on the stage. 

Gregorio Peralta answered his final bell on October 3, 2001. He was only 66 years old. The newspapers reported he died from heart failure brought on by other health issues. It was also reported he had been suffering from Alzheimers Disease, though it is more likely it was CET from his years in the ring. He should not be forgotten.
https://youtu.be/mXPSj9HaLJ8

https://youtu.be/zJOAEyxB59M

ArtsEmerson Presents “American Moor” Directed By Kim Weild 

KEITH HAMILTON COBB’S AWARD-WINNING EXPLORATION OF SHAKESPEARE, RACE, AND AMERICA RETURNS TO BOSTON 

TWO WEEKS OF PERFORMANCES, APRIL 10 – 21, 2019 AT 

THE EMERSON PARAMOUNT CENTER 

Keith Hamilton Cobb
Photos by C. Hovde and Chris Lang

ArtsEmersonwill host the return of the award- winning American Moorwritten and performed by Keith Hamilton Cobb, an urgent solo work examining the experience and perspective of black men in America through the metaphor of William Shakespeare’s character, Othello. The 2018 IRNE and Elliot Norton award-winning play received wide-spread acclaim from Boston audiences and critics – American Moorplays ArtsEmerson for two weeks of performances, April 10–21, at the Emerson Paramount Center Robert J. Orchard Stage. 

American Moorchallenges the capacity of theatre to fulfill the human longing to be fully visible and embraced; it’s a show that poses the question “who gets to perform Shakespeare?” while exploring the inequities of life as a black actor and life as a black man. The Boston Globe’s Don Aucoin calls it “a deep-from-the-heart spellbinder [that] is ablisteringly eloquent and penetrating meditation on the ever-urgent matter of race in America

“Keith’s got something timelessly entertaining, powerfully urgent and deeply disruptive to say with American Moor,” says ArtsEmerson artistic director David Dower. “In his first appearance in Boston he struck a chord that still reverberates. Just like we’ve done with Daniel Beaty’s Mr. Joy, Melinda Lopez’ Mala, and with companies like Whistler in the Dark, Arlekin Players, and Bedlam, we’re delighted to create the opportunity for more people to experience an award- winning production. Keith and Kim have continued to evolve the show since last we saw it here, as well, so even its fans will find surprises that reward a repeat visit. With Oregon Shakespeare Festival’s Othello having just wrapped a visit to A.R.T., it’s a perfect time to confront the complexities of that play, its title character, and the American culture — Keith is absolutely burning to take us there.” 

American Moorwas previously presented in Boston in 2017 by O.W.I 7:30pm

For more information:
Online: ArtsEmerson.org
Phone: 617-824-8400
In Person: Paramount Center Box Office, open Tuesday-Saturday from 10am-6pm (also open on Sunday 2/3 beginning at 12noon)

SpeakEasy Stage Company Presents The Boston Regional Theatre Premiere Of The Tony Award-Winning Musical ONCE.

March 1 – 30, 2019, in the Roberts Studio Theatre in the Stanford Calderwood Pavilion at the Boston Center for the Arts, 527 Tremont St. in Boston’s South End.ONCE

 

Nile Scott Hawver and MacKenzie Lesser-Roy
Photo by Maggie Hall Photography

Based on the 2007 Irish film written and directed by John Carney, ONCE employs an exceptional ensemble of actor-musicians to tell the story of an unlikely romance between a down-on-his-luck Dublin street musician and a determined Czech immigrant who inspires him to dream.  Featuring a book by Enda Walsh, and music and lyrics by Glen Hansard and Markéta Irglová, ONCE is a charming tale that reminds us of the importance of pursuing our dreams and the power music has to connect us all.  

SpeakEasy General Manager Paul Melone will direct this production of ONCE. Winner of two Elliot Norton Awards for his direction of the musicals Bloody Bloody Andrew Jackson (2013) and Adding Machine: A Musical (2010), Mr. Melone also directed the company’s Boston premieres of  Carrie: The Musical; reasons to be pretty; The Little Dog Laughed; Fat Pig; The Moonlight Room; Our Lady of 121st Street; and The Shape of Things. 

Also on the artistic team are Steven Ladd Jones (music director) and Ilyse Robins (choreographer).

Nile Scott Hawver and Mackenzie Lesser-Roy will play the lead roles of Guy and Girl.  Jacob Brandt, Billy Butler, Clara Cochran, Chris Coffey, Reagan Gardiner, Billy Meleady, Robert X. Newman, Marta Rymer, Stephen Shore, Jeff Song, Kathy St. George, and Ellie van Amerongen make-up the ensemble of actor-musicians. 

ONCE got its start with a workshop production at the American Repertory Theater in Cambridge, MA in April 2011. The show then transferred to the New York Theatre Workshop where it opened in December 2011. Steve Kazee and Cristin Milioti originated the roles of Guy and Girl for this Off-Broadway production, which was helmed by John Tiffany. This same team took the show to Broadway, where it opened on March 18, 2012, winning 8 Tony Awards including Best Musical. Since that time, audiences around the globe have had the opportunity to enjoy ONCE, which has played in Dublin, the West End, Australia, Seoul, South Korea, Toronto, and across the United States.  

ONCE will run for five weeks, from March 1 – 30, 2019, in the Roberts Studio Theatre in the Stanford Calderwood Pavilion at the Boston Center for the Arts, 527 Tremont St. in Boston’s South End.

For tickets or more information, the public is invited to call the box office at 617.933.8600 or visit www.SpeakEasyStage.com .                 

ArtsEmerson Presents “An Inspector Calls”

J.B. PRIESTLEY’S TIMELESS THRILLER 

AN INSPECTOR CALLS 

ARRIVES IN BOSTON


THE PRODUCTION BRINGS ITS U.S. TOUR TO ARTSEMERSON BY AWARD-WINNING DIRECTOR STEPHEN DALDRY
TWO WEEKS ONLY
MARCH 14 – 24, 2019
EMERSON CUTLER MAJESTIC THEATRE 

Jeff Harmer, Hamish Riddle and Andrew Macklin
(Photo by Mark Douet)

ArtsEmerson, Boston’s leading presenter of contemporary world theatre, is honored to welcome the U.S. tour of J.B. Priestley’s classic theatrical event, An Inspector Calls. Returning to direct his National Theatre masterpiece revival is Stephen Daldry (Oscar-nominated director of The Reader, The Hours and Billy Elliot) who also brings the iconic grand-scale set from the West End to Boston. This production of An Inspector Calls is the longest running revival of a play in history, seen by over 4 million theatergoers worldwide and winning an unprecedented number of awards including three Olivier Awards, four Tony Awards and seven Drama Desk Awards. 

Written at the end of the Second World War and set before the First, the play begins when the mysterious Inspector Goole calls unexpectedly on the prosperous Birling family home, shattering their peaceful family dinner party with his investigations into the death of a young woman. The Telegraph calls it “an Edwardian thriller with a socialist purpose, tinged with a supernatural spin” and The Independent hails “its power and pertinence feel all the more striking.” 

“Daldry’s triumphant An Inspector Calls is the kind of treat we are always looking to bring to ArtsEmerson’s audiences,” says ArtsEmerson artistic director David Dower. “Like earlier productions of revivals like A Trip to Bountiful and Beauty Queen of Leenane, this one delivers a time-tested play in a definitive, visionary staging that exhilarates as much for being familiar as for being entirely unexpected. Each captures the full power of theater’s ability to lift us out of the toil and turmoil of our day yet still leave us deeply attuned to our connection to each other. It’s been two decades since it first conquered the world, but my first encounter lingers as an unforgettable experience at the theater and I can’t wait for Inspector Goole’s return visit.” 

Hailed as the theatrical event of its generation, winning more awards than any other production in history, An Inspector Calls has thrilled more than 4 million people worldwide.
When Inspector Goole arrives unexpectedly at the prosperous Birling family home, their peaceful dinner party is shattered by his investigations into the death of a young working-class woman. His startling revelations shake the very foundations of their lives and challenge audiences to question their own consciences. 

The production runs two weeks at the Emerson Cutler Majestic Theatre, located at 219 Tremont Street in downtown Boston. Tickets may be purchased online at www.ArtsEmerson.org, by phone at 617.824.8400, or in person at the box office.

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“The Heath” Opens At Merrimack Rep

MRT Presents World Premiere of

New Lauren Gunderson Play,

The Heath

A Play with Original Songs by the Author of Silent Sky, I and You,

Miss Bennet: Christmas at Pemberley

Merrimack Repertory Theatre (MRT) will present the world premiere of The Heath by Lauren Gunderson, one of the most produced playwrights in America (Silent Sky, I and You, Miss Bennet: Christmas at Pemberley) from February 13 to March 10 at the Nancy L. Donahue Theatre at Liberty Hall, according to Artistic Director Sean Daniels and Executive Director Bonnie J. Butkas. 

A new play with music about the playwright’s relationship with her grandfather, The Heath is directed by Artistic Director Sean Daniels (The Lion, Miss Bennet: Christmas at Pemberley, Little Orphan Danny). The play includes banjo, four original songs, and several traditional tunes.

In The Heath, Gunderson turns her prodigious storytelling skills on herself as she wrestles with how you make peace with a beloved relative who seems unlike you in every way. This beautiful, funny meditation on her grandfather’s life draws on everything from Shakespeare to Bluegrass in a soul-stirring story of redemption, love, madness, and the science of memory. 

Of The Heath, Gunderson said, “I started the script before my PawPaw died as it occurred to me that the only reference I had for his condition was the literary figure of King Lear. It’s a love letter to him, an apology, and a reckoning, as well as a chance to discover a man I thought I knew so well.

I was inspired to add banjo to the play when I remembered how much PawPaw loved Flatt and Scruggs bluegrass music. It felt like a crazy challenge to myself. The songs are simple but full of emotion and heart. The big ending song, Storm Still, was the most cathartic to write. It really allows me to say, ‘I love you, I miss you, I’m proud of you,’ to my grandfather,” she said.

The cast features Miranda Barnett as Lauren and George Judy as KD, her grandfather, and King Lear. 

A classically trained musician-turned-actor, Barnett has been studying the banjo for the past three months in anticipation of the show. A native and resident of South Carolina, her credits include The Rocky Horror Picture Show; Vanya, Sonia, Masha and Spike; Sweeney Todd; and Les Liaisons Dangereuses. 

George Judy is the Gresdna A. Doty Professor of Theatre at Louisiana State University, as well as the former head of the MFA Acting Program there and former Artistic Director of Swine Palace, LSU’s Equity theatre-in-residence. He has appeared in numerous Shakespeare productions, including King Lear, The Tempest, The Merry Wives of Windsor, and A Midsummer Night’s Dream, at the John F. Kennedy Center for the Performing Arts in Washington, D.C., Royal National Theatre in London, and the Utah, Texas, and Kentucky Shakespeare festivals, among many other venues. FUN FACT: George Judy was Sean Daniels’ acting coach in college.

The Heath by Lauren Gunderson runs from February 13-March 10, 2019. For more information visit www.mrt.org or contact the MRT Box Office at 978-654-4678.

The Amazing Harry Greb’s Amazing Year

SMOKESTACK LIGHTNING: HARRY GREB, 1919                                                                                             

By Springs Toledo

Amazon Kindle Edition $7.99

Book review by Mike Silver

   If asked to name the greatest boxer who ever lived most boxing historians would most likely place Sugar Ray Robinson in the top spot. That is always a good choice. But it is not the only choice. There are, perhaps, three or four other boxers whose spectacular record of accomplishment makes them worthy of consideration. 

     In his latest literary effort Springs Toledo makes a very strong case for a boxer who just may have been the greatest who ever lived—Harry Greb. In a career that spanned 13 years (1913 to 1926) the legendary “Pittsburgh Windmill” fought a phenomenal 294 professional boxing contests often against the greatest boxers of his era. His record shows only 19 losses (eight official losses and 11 newspaper decisions). Most occurred either early or late in his career.

Harry Greb, both as an athlete and a person, is one of the most fascinating and charismatic characters of the 20th century. 

       For those readers lucky enough to have read Toledo’s previous works this paean to a truly great fighter exposes us once again to the author’s colorful and engaging writing style. Toledo is passionate about his subject, and rightly so. Harry Greb, both as an athlete and a person, is one of the most fascinating and charismatic characters of the 20th century. 

     In conveying to the reader why Greb deserves his place at the pinnacle of boxing’s Mt. Rushmore Smokestack Lightning: Harry Greb, 1919 focuses on the most amazing and mind boggling year of any prizefighter of any era. In just 96 pages Toledo offers enough evidence and detail to cause the reader to shake his head in disbelief at what no normal human being would seem capable of doing. 

    From January 1st to December 31st 1919—while Greb was ranked the number one middleweight contender—he stormed through twenty-one cities in eight states and fought forty-five times. (Today forty-five fights would constitute an entire 10 to 15 year professional boxing career). “Greb was on track for well over 60 had scheduled bouts not been cancelled because of either injuries to himself, or an opponent’s nerve.”

     In one year Greb “thrashed five Hall of Famers ten times, personally sought out the middleweight champion in New York City, ran two light heavyweight champions out of the ring, called out Jack Dempsey every chance he got, manhandled heavyweights, and barely lost a round while suffering unspeakable injuries.” According to Boxrec.com Greb won all 45 bouts.

      Toledo’s books—and this one is no exception—contain far more than boxing history. They are absorbing and richly detailed character studies as well. He delves into aspects of Greb’s private life outside of the ring, describing injuries to a pre-adolescent psyche that may have contributed to his extraordinary and highly unorthodox boxing style. 

    

Harry Greb

At the very beginning of Greb’s sensational run he married the love of his life, Mildred Reilly, a beautiful and feisty vaudeville actress with a personality that complemented his own. The book appropriately begins with their marriage in Pittsburgh on January 30th 1919. As the author  notes: “Marriage steadied but did not quite civilize Greb, who went on to build his legend around what he did to  heavyweights, around a slogan he’d repeat again and again: “anybody, anyplace, anytime.” It was not unusual for him to fight two and three times in a week.

     Greb did not allow anything to interfere with his drive to prove himself the greatest fighter on the planet. The honeymoon would have to wait. He had a fight scheduled in Cleveland the day after his wedding with tough middleweight contender Tommy Robson for a $1000 dollar payday. 

     He easily defeated Robson who, like all of Greb’s opponent’s, could not solve or fathomThe Windmill’s style. “How does he do it”, asked Robson. “How can any man of his weight dance and leap and keep on top of you the way he does without becoming exhausted? And he can go twenty rounds the same way. He is the biggest freak in the ring.” Indeed, Greb never seemed to tire and actually got stronger and faster as a bout progressed. One newspaper described him as “the leaping, bounding, elusive Greb, who kept both of his long arms going like flails.” The next day Harry returned to Pittsburgh and his bride.

       Before he eventually won the middleweight championship from Johnny Wilson in 1923 Greb had boldly issued challenges to the light heavyweight and heavyweight champions. Both avoided him.  Along the way he hung the only loss on future heavyweight champion Gene Tunney who was savaged over 15 rounds. Prior to the bout Tunney was warned “he is not a normal fighter. He will kill you”. To force a bout with heavyweight champion Dempsey (which never materialized) Greb sought out two of his top challengers, Tommy Gibbons and Bill Brennan and defeated both.

He issued a public challenge to 6’ 6” 245 pound Jess Willard and said he’d donate the purse to the Red Cross.

     In his persistent quest to win the heavyweight championship (despite rarely weighing more than 170 pounds) Greb went to extreme lengths to prove he was worthy. He issued a public challenge to 6’ 6” 245 pound Jess Willard and said he’d donate the purse to the Red Cross. He also opened negotiations with Luis Firpo and said he’d fight the number one ranked heavyweight contender Harry Wills “in an arena or a gym just to prove that the best African-American heavyweight in the world wasn’t much.” As noted by the author, “All of them towered over him and outweighed him by at least fifty pounds, which suggests that Greb either had screws loose or was a misanthrope raging against all men, including himself.”

      Toledo goes on to say, “People who knew Greb said he needed to fight often, that he thrived on his marathon plan of meeting them all, one after the other.” He typically asked for two things—“fair terms” and “the hardest guy.” While he was pleasant and friendly and loyal outside of a boxing ring, inside the ring he was an unstoppable force of nature the likes of which had never been seen before or since.  

     Late in his career tragedy dogged the great fighter. Four months before Greb won the middleweight title in 1923 his young wife succumbed to tuberculosis. She was just 22 years old. That same year he began to go blind in his right eye due to an injury received in a bout. He eventually lost the sight in the eye but continued to fight. Attempts to get Greb a shot at Dempsey’s title were still going on in July 1925, “when he was half blind and fighting with his head tilted to the right.”

Even half blind Greb scored some of the greatest victories of his career. 

    Even half blind Greb scored some of the greatest victories of his career. “But he was losing his bearings; his boundless energy now crossed with sorrow, was like a scattershot.” Perhaps to compensate for his fading vision and gain an edge he often abused the rules and risked disqualification. He became reckless outside the ring as well. There was a drunken nightclub brawl, affairs with chorus girls, breach of promise law suits, and the loss of his middleweight championship in 1926 to Tiger Flowers by a controversial split decision. At 32, and after nearly 300 professional fights, the streaking comet that was Harry Greb was finally slowing down.

    Less than two months after losing the rematch to Flowers by another split decision Greb was involved in a car accident that fractured a bone near the base of his skill. Ten days later surgery to repair the injury went wrong and he died the following day. 

      Ninety-two years after his death the legendary fighter remains an object of fascination and mystery. Smokestack Lightning reveals the legend in all his glory and helps to unravel some of the mystery and, if possible, provokes even greater admiration and awe for the one and only Pittsburgh Windmill.

Mike Silver is the author of The Arc of Boxing: The Rise and Decline of the Sweet Science (McFarland Publishers 2008) and Stars in the Ring: Jewish Champions in the Golden Age of Boxing (Lyons Press 2016). Both are available at Amazon.com. 

Reaching For The Light Without a Net

When Angels Fall

Directed and Choreographed By Raphaelle Boitel

Presented By ArtsEmerson

Emerson Cutler Majestic Theatre, Boston

Through February 24

https://artsemerson.org

Reviewed by Bobby Franklin

Raphaelle Boitel describes When Angels Fall as a dystopia. Set some time in the future, the performers emerge from darkness and never speak. Instead, we are left to interpret what is happening by witnessing a combination of aerial acrobatics, dance, and other expressive movements, some as simple as people walking across the stage. This is accompanied by original and very moving music composed by Arthur Bison. Add to all this,  lighting that is used sparsely but oh so effectively and a fog machine that at times gives the feeling that the aerialists are drifting through clouds makes this a captivating work that fascinates and intrigues. 

Ms Boitel’s future is cold. It is a place where human connection is frowned upon if not outright banned. As the work opens a performer is lowered from above to the song A Bicycle Built For Two (Daisy, Daisy). The old tune will be heard again, and in different versions, throughout the production. The reactions of the characters to this simple song of love and togetherness seems at first humorous, but as their confusion and fear shows it is apparent just how far removed they are from being able to understand and feel human connection, and that is where it becomes so very sad. It may be the future, but things have not moved forward. 

Throughout all of this there is one character, a noble savage type, who is looking for more. She is looking for conversation and is looking off stage toward someone or something as she reaches out for connection. 

The use of beams of light cutting through the fog and the darkness gives a feeling that all is not hopeless. The striving to reach up to the light that is expressed through the amazing aerial acrobatics is just astounding. The beauty and danger that are combined touch the emotions as the struggle to be allowed to feel is strongly conveyed. Can she escape and reach the light or will she fall?

In the 70 minutes it lasted, my eyes never left the stage. The movements, the music, the aerial feats were all spellbinding.  The seven performers were perfectly in sync while making it look effortless, which it certainly wasn’t. 

This is the first season I have covered ArtsEmerson, and I have been quite impressed. Artistic Director David Dower has made the unusual the usual under his direction. 

When Angels Fall is only playing until Sunday so don’t hesitate, you won’t want to miss this very original work. The Emerson Cutler Majestic is a beautiful theatre and this is a must see production. It is touching, enthralling, and deeply moving. And if you haven’t guessed by now, I really enjoyed it.

Photos by Sophian and Georges Ridel

What Are We Without The Memories?

The Heath

By Lauren Gunderson

Directed By Sean Daniels 

Through March 10

Merrimack Repertory Theatre

Lowell,MA

https://mrt.org/show/heath

Reviewed By Bobby Franklin

George Judy and Miranda Barnett
Photo by Meghan Moore

In The Heath, author Lauren Gunderson tells the story of her Paw Paw’s (grandfather) withdrawal from life due to the ravages of Alzheimer’s Disease. It is also the story about the regrets she has in not having gotten to know him better. Using scenes from King Lear as well as playing the banjo and singing, we are presented with an original and fascinating look at life and aging.

Miranda Barnett plays Lauren and does so with complexity and depth. Lauren is filled with regret for not having had more conversations with her Paw Paw whose name is KD, and struggles to understand what has happened by reading King Lear. The set is split between a home and a heath. George Judge in the role of KD as well as Lear is touching, warm, and powerful. His voice shifts from a Southern accent to a naturalistic Shakespearean delivery seamlessly as the scenes move from the dialog between Lauren and KD to out on the heath as we watch Lear’s descent into madness. 

George Judy
Photo by Seaghan McKay

While we often think of Lear as having gone mad, in The Heath we see it as being much more than that. Ms Gunderson shows how the diseases of an aging mind are not madness but a loss of self. She tells us, “They are lost before they are gone”. It is heart wrenching to witness a man who led a full life, who fought in Europe in WWII, raised a family, loved and was loved go to that place where he no longer knows anyone, even himself.

While at times Lauren comes across as self centered, she also does her best to reach out to KD. She learns to play the banjo because she remembered how he loved to listen to the music of Flatt and Scruggs. In addition to portions of some Gospel tunes, Ms Gunderson has also written a number of touching songs for the play. In Let It Be Me she asks “Who are we without the story?” It is the stories, the memories that are stolen from those suffering from dementia. 

This is all pretty heavy stuff, and the realities are not glossed over here. Having said that, the play is not a downer. There is much to smile and laugh about as KD’s life is recounted through conversations with Lauren as well as projections onto the back of the set. She learns from going through old letters that her Paw Paw called her grandmother Sugar Babe. She remembers watching Atlanta Braves baseball games together and the fun they had. They also had some interesting conversations about religion, a topic they didn’t exactly see eye to eye on. Those differences lead to some funny exchanges between the pair.

George Judy and Miranda Barnett
Photo by Meghan Moore

The scenes where Mr. Judge assumes the role of Lear are stunning. He steps onto the heath and recites his lines which have been framed by KD’s story. In the final storm scene from Lear, Lauren takes on the part of the Fool, and in creating the last scene with Lear and Cordelia, she is the King’s youngest though she worries she may have been more like Goneril. The sound, the lighting, and the emotions are a theatre experience to remember. Ms Barnett and Mr. Judge deliver amazing performances on the MRT stage. 

The Heath will touch everyone. It is a reminder that none of us gets out of life without suffering. That no matter how hard we try we will have regrets. It also tells us that our lives are filled with meaning and love, and it is up to us to strive to understand the gift we are given. 

Don’t be afraid of the subject matter. You will be enriched by this story. Our lives are our memories. Throughout the play texts are displayed on the backdrop. One is, “You have to begin to lose your memory, if only in bits and pieces, to realize that memory is what makes our lives. Our memory is our coherence, our reason, our feeling, even our action. Without it, we are nothing. – Luis Bunuel, My Last Sigh”

Don’t miss this production, it will touch you and help you to better understand the journey we are all on. 

The Ogunquit Playhouse Announces Lineup For 2019 Season

Jersey Boys!, 42nd Street, Cabaret, and Murder On The Orient Express With More To Follow

The legendary Ogunquit Playhouse is thrilled to announce a sensational lineup of shows for audiences in 2019. For the first time in over a decade the Playhouse will stage a non-musical play in addition to five musicals, including the return of the multi-Tony Award-winning, international sensation Jersey Boys; the quintessential tap dancing extravaganza 42nd Street; and the iconic and powerful jazz musical Cabaret. The play that will ignite the stage with murder and mystery is the beloved Agatha Christie’s Murder on the Orient Express. Closing out the season is a hilarious musical comedy that will be announced soon and a Tony Award-winning, smash hit musical which will be announced in May. 

“As we head into our 87th season, we are delighted to present an exciting lineup of musicals for our audiences,” stated Bradford Kenney, Ogunquit Playhouse Executive Artistic Director. “I am very excited to produce my first play here at the Playhouse. I am a huge Agatha Christie fan and we have carefully chosen one of her most thrilling murder mysteries, a brand new play adapted for the stage by Ken Ludwig. It will be seen here for one of the first times anywhere, live on our stage this summer.”

Season ticket subscription packages are on sale now and the only way to guarantee the best seats for the best price to these exciting shows! Prices start at only $250 for a five-show package and $150 for a three-show package. Gift certificates are also on sale online and through the Box Office. Individual tickets are on sale exclusively for Ogunquit Playhouse members the week of Monday, March 4. Individual public ticket sales begin Monday, March 11 with prices starting at $36. 

It’s just too good to be true! The season kicks off with the return of the multi-Tony Award-winning, international sensation that performed to sold-out houses during its run at the Ogunquit Playhouse in 2018, Jersey Boys! The hit show is back by popular demand May 15 through June 15. Returning to the Playhouse stage as The Four Seasons are Jonathan Mousset (Frankie Valli), Matt Magnusson (Tommy DeVito), Andy Christopher (Bob Gaudio), and Matthew Amira (Nick Massi). Follow the incredible story of four guys bound by one dream, who worked their way from the streets of New Jersey to the heights of stardom. Jersey Boys takes audiences on an exhilarating journey with the electrifying performances of the golden greats that took these hometown boys from Jersey all the way to the top of the charts: “Sherry,” “Big Girls Don’t Cry,” “Can’t Take My Eyes Off You,” “Dawn,” “My Eyes Adored You,” and many more. Don’t miss your chance to see this blockbuster show – you’re sure to leave exclaiming, “Oh, What a Night!!”

Come and meet those dancing feet! The ultimate tap-dancing, show-biz musical sensation, 42nd Street celebrates Broadway, Times Square, and the people who make magical musical theatre, on stage June 19 through July 13 and featuring Emmy Award-winner Sally Struthers. The Ogunquit production will be staged by Randy Skinner, the creator of the Broadway revival and recent West End smash hit. Aspiring chorus girl Peggy Sawyer comes to the big city and soon lands her first job in the ensemble of a glitzy new Broadway show. Mayhem and mirth ensue when just before opening night the leading lady breaks her ankle. Will Peggy be able to step in and become a star? The score is chock-full of Broadway standards, including “You’re Getting To Be A Habit With Me,” “Dames,” “We’re In The Money,” “Lullaby of Broadway,” “Shuffle Off To Buffalo” and “Forty-Second Street.” Be sure to shuffle off to Ogunquit for this delightful and dazzling musical!

Decadent nightlife meets dangerous times at Berlin’s alluring Kit Kat Klub in Cabaret, on stage July 17 through August 10. The Ogunquit production is based on the searing Sam Mendez musical recently revived on Broadway and is set in the cabaret underworld on the eve of Hitler’s rise to power. This unforgettable musical tells the story of Cliff Bradshaw, a young American writer newly arrived in Berlin, who falls in love with cabaret singer Sally Bowles. Their romance sizzles amid the back room culture of the cabaret and the tumultuous atmosphere of pre-Nazi Germany. Cabaret is a raw and powerful jazz musical that explores the dark life of Berlin’s natives and expatriates as Germany slowly yields to the emerging Third Reich. The show has had numerous Broadway and London revivals and is the winner of multiple Tony Awards, including Best Musical and Best Original Score for Kander and Ebb’s compelling musical numbers which include, “Willkommen,” “Money,” “Tomorrow Belongs To Me,” “Maybe This Time” and “Cabaret.” Come to the Cabaret, your table’s waiting!

All aboard! The exotic Orient Express is hurtling down the tracks… to a murder! Agatha Christie’s Murder on the Orient Express hits the stage August 14 through August 31 with a train full of suspects and an alibi for each one. It’s the perfect mystery for detective Hercule Poirot, n’est-ce pas? Wax your mustache and hold on to your passport! Newly adapted for the stage from Agatha Christie’s masterpiece by two-time Tony-nominated playwright Ken Ludwig, the beloved mystery unfolds in a fresh and thrilling way. This exciting play will take audiences on a suspenseful, thrilling ride aboard the legendary Orient Express! Don’t go off the rails – hop on board today!

Closing out the season is a hilarious musical comedy on stage from September 4 through September 14 that will be announced soon and a Tony Award-winning, smash hit musical that will run from September 18 through October 27, which will be announced in May. Stay tuned – you won’t want to miss them!

Review: “Once”

“Don’t Be Wastin’ Life 

‘Cause You’re Frightened Of It”

Once

At SpeakEasy Stage Company

Through March 30

Reviewed by Bobby Franklin

Nile Scott Hawver and MacKenzie Lesser-Roy
Photo Credit: Maggie Hall Photography

Once, the Tony Award winning musical based on the 2007 movie of the same name, is a love story that takes place over five days in Dublin, Ireland. The lead characters are called simply Guy and Girl. The cast is made up primarily of musicians who play their instruments on stage during the performance. This gives a coffeehouse feel to the work.

Guy, played by Nile Scott Hawver, is a singer/songwriter who is despondent after having broken up with his girlfriend. She was the inspiration for his songs, and he has now decided to give up music. 

Girl, an “always serious” Czech pianist, played by MacKenzie Lesser-Roy, sees Guy discard his guitar on the street and approaches him. Guy is put off by her aggressiveness as she pushes him to pick up his instrument. He resists, and then “destiny” steps in.

It turns out Guy repairs Hoovers, as in vacuum cleaners, for a living, and it just happens that Girl has a Hoover in need of repair. This sets the stage for the pretty predictable story that follows.

The two begin to fall in love, but that love will not be able to blossom for a number of reasons; however, they both have much to give to and learn from each other in the time they spend together. Until they met each other they were both stuck, and from each other they have come to understand they cannot remain that way. As Guy says, “Don’t be wastin’ life ‘cause you’re frightened of it”.

Billy Meleady and Kathy St. George With Cast
Photo Credit: Maggie Hall Photography

Along the way there is much music and many characters, including Guy’s Da (father) and Girl’s mother, Baruska, played by Billy Meleady and Kathy St.George. Girl has a young daughter, Ivonka, who was played by Reagan Gardiner at the performance I attended. Clara Cochran also plays Ivonka in alternating appearances. Add to this a number of Girl’s Czech friends and the local Dubliners and you get some interesting cross cultural interactions. 

While the story is pretty basic and the music is not of the type you will be singing to yourself as you leave the theater, the production is uplifting and enjoyable. Ilyse Robbins has done a splendid job in choreographing the musicians, all of whom are first rate. The set design, mostly brick with wood floors, is warm and welcoming while the lighting accents the colors and frames the actors in a way that keeps them from becoming too large on the small stage of the Robert’s Theatre. It is all splendidly done. 

I want to make special mention of Billy Butler who plays Billy, the owner of a recording studio. Mr. Butler is quick and sharp with some great lines. He is a pugnacious character who has to temper his fighting spirit because he has a bad back. Of course, his back seems fine until he appears ready to fight. I was quite impressed with Mr. Butler’s sharp performance and well timed facial expressions. 

MacKenzie Lesser-Roy and Scott Hawver
Photo Credit: Maggie Hall Photography

Nile Scott Hawver and MacKenzie Lesser-Roy are charming as Guy and Girl. Both have delightful voices and are accomplished musicians. They convey warmth and understanding in their lines to each other. By the end of the two hour performance you will find you really like both of the characters. 

The rest of the cast are also very good. While most are musicians they also display excellent acting talent and are quite comfortable on the theatrical stage.

This is my first time seeing Once. It was originally an off Broadway work that moved to Broadway. While it had great success there and won 8 Tony Awards including Best Musical, I get the feeling it works best in a smaller theatre such as the Robert’s. As I wrote at the beginning, it has a coffeehouse feel to it, and seeing it staged so well on this small stage makes me believe this is how it should be experienced. 

Photo Credit: Maggie Hall Photography

Once is a nice story, and The Speakeasy Stage Company production of it is pitch perfect. I doubt it was serendipitous that a love story set in Dublin would happen to arrive on a Boston stage during St. Patricks Day, but it is a nice treat. And get there early as the cast puts on a lively little musical session before the play begins that you won’t want to miss. 

Presented by SpeakEasy Stage Company

Book By Enda Walsh

Music and Lyric By Glen Hansard and Marketa Irglova

Directed By Paul Melone 

Choreography by Ilyse Robbins

Through March 30

SpeakEasy Production Company

Calderwood Pavillion, South End, Boston

speakeasystage.com

617.933.8600

SPEAKEASY EXTENDS “ONCE” THRU APRIL 7, 2019

Hit Play Is Proving To Be Very Popular In Boston

New Block of Seats on Sale Friday, March 8 at noon 

MacKenzie Lesser-Roy and Scott Hawver
Photo Credit: Maggie Hall Photography

 Due to overwhelming demand, SpeakEasy Stage Company has added seven more performances of its acclaimed production of the Tony Award-winning musical ONCE.  The show will now play through Sunday, April 7, 2019.  

The entire original cast will remain for the additional week of performances. The new block of seats for these additional performances will go on sale this Friday, March 8, 2019  at noon.  

 Based on the 2007 Irish film written and directed by John Carney, ONCE employs an exceptional ensemble of actor-musicians to tell the story of an unlikely romance between a down-on-his-luck Dublin street musician and a determined Czech immigrant who inspires him to dream.  Featuring a book by Enda Walsh, and music and lyrics by Glen Hansard and Markéta Irglová, ONCE is a charming tale that reminds us of the importance of pursuing our dreams and the power music has to connect us all.  

 SpeakEasy General Manager Paul Melone directed this production of ONCE. Winner of two Elliot Norton Awards for his direction of the musicals Bloody Bloody Andrew Jackson (2013) and Adding Machine: A Musical (2010), Mr. Melone also directed the company’s Boston premieres of  Carrie: The Musical; reasons to be pretty; The Little Dog Laughed; Fat Pig; The Moonlight Room; Our Lady of 121st Street; and The Shape of Things. 

  Also on the artistic team are Steven Ladd Jones (music director) and Ilyse Robins (choreographer).

 Nile Scott Hawver and Mackenzie Lesser-Roy play the lead roles of Guy and Girl.  Jacob Brandt, Billy Butler, Clara Cochran, Chris Coffey, Reagan Gardiner, Billy Meleady, Robert X. Newman, Marta Rymer, Stephen Shore, Jeff Song, Kathy St. George, and Ellie van Amerongen make-up the ensemble of actor-musicians. 

 The design team is Eric Levenson (scenic); Rachel Padula-Shufelt (costumes); Karen Perlow (lighting); and Andrew Duncan Will (sound). 

 ONCE will now run through Sunday, April 7, 2019, in the Roberts Studio Theatre in the Stanford Calderwood Pavilion at the Boston Center for the Arts, 527 Tremont St. in Boston’s South End.

For tickets or more information, the public is invited to call the box office at 617.933.8600 or visit www.SpeakEasyStage.com .         

Reveiwed Here

 

“Onegin” Opens At Greater Boston Stage

GREATER BOSTON STAGE COMPANY

PRESENTS THE U.S. PREMIERE OF ONEGIN

Photo credit: Nile Hawver/Nile Scott Shots

Greater Boston Stage Company proudly announces the U.S. Premiere of Amiel Gladstone and Veda Hill’s, Onegin. Based on Pushkin’s masterpiece novel in verse and Tchaikovsky’s stunning opera, Onegin tells the love story of the innocent Tatyana and the self-obsessed aristocrat Onegin. This soaring musical adaptation begs you to answer the question, “Look around, look around, look around, Do you see someone worth dying for? Directed by Producing Artistic Director Weylin Symes, performances run March 14 – 31, 2019

Says Symes, “I discovered this one in a bit of a strange way. Veda Hille (composer/co-writer) released several albums in the 90s and early 2000’s that I owned and loved. One day a few years ago, I discovered that she was still writing and moreover that she had written a brand-new musical based on Pushkin’s most famous poem, Onegin. After listening to one song, I was hooked. Veda’s modern pop/musical sensibility that includes motifs from the Tchaikovsky opera, combined with a ‘musical-meets-rock-concert’ setting seemed like the perfect way to capture the passion, vibrancy and tongue-in-cheek playfulness of this classic story for a modern audience.” He continues, “Like most of my favorite shows, Onegin is a true ensemble piece with a cast of seven playing multiple roles throughout the show. And what a cast it is.”

“The great Russian novels feel so contemporary to us,” shares co-creator Hill. “You know these people, and you’ve had these feelings. We are so thrilled to have our American Premiere at GBSC. This production marks the first time that Amiel and I are not directing/music directing the show. We’ve been looking for the right company to hand Onegin to, and we feel we’ve found such excellent people at GBSC.”

The Onegin Cast features Peter Adams, Christopher Chew, Kerry Dowling, Josephine Ellwood, Mark Linehan, Michael Jennings Mahoney, and Sarah Pothier.

The Design Team is comprised of Scenic Designer Katy Monthei, Lighting Designer Jeff Adelberg, Costume Designer Deirdre Gerrard, Sound Designer John Stone, and Props Master Emme Shaw. Music Direction is by Steve Bass with choreography by Associate Artistic Director, Ilyse Robbins. Young Company Alum, Stephen Zubricki IV Assistant Directs.

There will be complimentary Pre-Show Vodka Tastings at each of the Friday performances courtesy of Vodka Sponsor Deep Eddy Vodka.

Single Tickets for Onegin: $50-60 Adults; $45-55 Seniors; $20 Students (with valid ID). Thrifty Thursday tickets cost $15 at the door and are available for the Thursday, March 14, 2019 performance at 7:30pm. For more information or to purchase tickets, call the Box Office at Greater Boston Stage Company at (781) 279-2200, or visit www.greaterbostonstage.org.

“Twelfth Night” Opens At The Lyric Stage March 29

If Music Be The Food Of love, Play On! Give Me Excess Of It!

Orsino, Act 1 Scene 1

The Lyric Stage Company and Actors’ Shakespeare Project will be co-producing a production of William Shakespeare’s Twelfth Night. ASP founding member Paula Plum will will direct. Paula has worked as an actor and director with the Lyric Stage since 1975. She has won numerous awards including three Eliot Norton Awards for Outstanding Actress.

The cast will feature Rachel Bell;eman, Dominic Carter, Jennie Israel, Samantha Richert, Alejandro Simoes, Richard Snee, Hayley Spivey, Bobbie Steinbach, and Michael Forden Walker.

Twelfth Night is a tale of unrequited love – hilarious and heartbreaking. Twins are separated during a shipwreck and are forced to fend for themselves in a strange land. The first twin, Viola, falls in love with Orsino, who dotes on Olivia, who falls for Viola but is idolized by Malvolio. Enter Sebastian, who is the spitting image of his twin sister… is it possible for this to all end well?   Well, it IS a comedy!

Twelfth Night will run from March 29 through April 28 at the Lyric Stage, Copley Square, Boston.

For more information: 617.585.5678 lyricstage.com  actorsshakespeareproject.org 

Review: “An Inspector Calls” At ArtsEmerson

Be Sure To Visit This House

Review: An Inspector Calls

Directed By Stephen Daldry

A National Theatre Landmark Production

Through March 14

ArtsEmerson

Emerson Cutler Majestic Theatre, Boston

Reviewed by Bobby Franklin

Photo by Mark Douet

When the curtain rises for An Inspector Calls, now playing at the Emerson Cutler Majestic Theatre, a magnificent Victorian mansion appears center stage shrouded in mist and rain. It is rather breathtaking to see as we hear the occupants talking over dinner. Eventually, the sides of the house swing back revealing the diners while allowing the audience to get to know each character. 

At first I thought the house would steal the show, but nothing could take away from the fine acting on display over the next 100 minutes of this fast paced production filled with rapid fire dialog.

Jeff Harmer, Hamish Riddle and Andrew Macklin
Photo by Mark Douet

J.B. Priestly’s play which was written in 1945 and is set in 1912, takes in place the home of the prosperous Birling family, celebrating the engagement of their daughter Sheila (Lianne Harvey) to Gerald Croft (Andrew Maclin). Croft’s family runs a company that competes with the Birling’s firm, and the wedding appears to be as much a business merger as an affair of the heart.

The mood begins to change quickly when the mysterious Inspector Goole (Liam Brennan) arrives and begins questioning the individuals about a young woman named Eva Smith. Eva has taken her own life and the Inspector acts as a conscience while going from person to person while finding blame in each for driving the young Smith to such despair.

Priestly made no attempt to hide his agenda and it is clear the story comes down to a very black and white social commentary; wealthy industrialist is cruel and exploitative while the workers have no control over their lives. It is a theme that will be popular with many of today’s Millennials who seem to be quite taken with socialism, but it does not lend itself to discussion. Priestly has written a work that is more of a sermon promoting rather than an argument for his beliefs.

Liam Brennan, Jeff Harmer, Hamish Riddle, Andrew Macklin
Photo by Mark Douet

Does this mean only people who agree with the author should see it? Not at all. Actually, it is a very good work with excellent dialog, many surprises, and characters that are well developed, and that while it is strongly political in nature, there is much in it that will resonate with people from all spectrums of opinion. Step back from where Priestly is trying lead the audience and you have a story about human nature and the harm people do to one another because they don’t understand or simply choose not to see the consequences their actions have on the lives of others. This is a problem for not only wealthy capitalists, but for many people when they have power over others. It could even be true of college professors or lower level management people. 

This is the U.S. tour of the National Theatre production of An Inspector Calls, and the set from the original London West End theatre has been brought over. It is a first rate work that is a pleasure watch. At times I felt as if I were sitting in a London theatre while watching this incredibly talented troupe of actors plying their art. Costumes, lighting, and effects further enhanced the performances. 

Liam Brennan’s Inspector Goole is a combination of avenging angel and Ghost of Christmas yet to come, while Jeff Hamer in the role of family patriarch Arthur Brilling takes his character, who could have easily slipped into caricature, and fills him with depth and emotion.

Lianne Harvey’s Shelia Brilling at first appears to be uncaring, or rather naive, but then becomes a voice of reason and understanding. Eric Brilling, the alcoholic son played by Hamish Riddle, gains much depth as the play moves on, and his pain is deeply felt as the final scenes unfold. 

Gerald Croft (Andrew Maclin), the future son in law, and Sybil Birling (Christine Kavanaugh), the family matriarch, struck me as the coldest of the bunch. Both appeared to be from the school that says if nobody sees you, you didn’t do anything wrong. 

Not to be forgotten is Edna, the Birling’s maid. Played by Diana Payne-Myers, she has very little dialog but acts as witness to all that happens. While subtle, she is quite moving and plays an important role in the play.

Opening night was also Ms Payne-Myers 91st birthday. She has been performing the part for 22 years, I think she has it down pat. 

Jeff Harmer, Diana Payne-Myers, Lianne Harvey, Hamish Riddle, Andrew Macklin, Christine Kavanagh and Ensemble
Photo by Mark Douet

Be neither turned off or on by the political bent of An Inspector Calls. It is excellent theatre and it would be a shame not to take it in. We are in such polarized political times, but that has always been true to some degree. The important thing is to be able to listen to one another no matter how much we may disagree. While you may or may not agree with J.B. Priestly’s political views, there is much common ground to be found in how we can improve our lives when it comes to treating others with kindness and respect.

One thing everyone can agree on is this is a superb production that should not be missed. 

Emerson Cutler Majestic Theatre, 219 Tremont Street, Boston. Tickets may be purchased online at www.artsemerson.org  by phone at 617.824.8400, or in person at the box office.

Review: “Onegin” At Greater Boston Stage Company 

Onegin

By Amiel Gladstone and Veda Hille

Directed By Weylin Symes

Musical Direction By Steve Bass

Choreographer Ilyse Robbins

Through March 31

 

Reviewed by Bobby Franklin

Sarah Pothier and Mark Linehan
Photo by: Maggie Hall Photography

Onegin, now playing at the Greater Boston Stage Company in Stoneham is the U.S. premiere of the musical based on the epic poem of the same name by Alexander Pushkin. It has been very popular in Canada, and after seeing this production I can understand why. In this version, Russian literature meets rock opera. The result is two hours of very enjoyable theatre that you won’t want to miss.

Set in 19th Century Russia, it is the story of Evgeni Onegin (Mark Linehan) who has moved to the countryside where he has inherited his uncle’s estate. There he befriends the young poet Vladimir Lensky (Michael Jennings Mahoney). To cheer his new friend up, Lensky introduces Onegin to his girlfriend’s sister Tatyana (Sarah Pothier). 

We hear how Tatyana is immediately taken with Onegin as she sings Let Me Die, in which she tells of her love of books and her feelings that Onegin has walked out of one of the great novels she has read. Ms Pothier’s rendition of Let Me Die is beautiful. Her voice is sweet and conveys a vulnerability that captures the essence of Tatyana. 

Sarah Pothier
Photo By: Maggie Hall Photography

Unfortunately, the object of her affection does not respond in kind. He makes his feelings clear in Onegin’s Refusal in which he sings the lyric, “Marriage is not for me.” Mark Linehan’s voice is strong and rich, and it doesn’t take long to understand the character of the self centered Onegin. 

The story moves to tragedy as Onegin’s thoughtlessness causes his friend Lensky much pain. Onegin’s flirtation with Lensky’s fiancé Olga (Josephine Moshiri Elwood) leads to the two friends having a duel. The result causes much pain while giving Onegin what appears to be the first sense of caring for others. 

Christopher Chew
Photo by Maggie Hall Photography

While tragic, the play has many upbeat and funny moments. Christopher Chew as Triquet puts on quite the rock star performance during “The Queen Of Tonight”. Kerry Dowling’s glower seems aimed at each audience member as she sings Rules For Dueling while dressed as a Cossack complete with mustache. There are a number of memorable moments such as this.

Michael Jennings Mahoney who plays Lensky has a remarkable voice. The melancholy that shows during Olga Will You Weep is deeply moving. I was impressed and taken with what I heard.

The five piece orchestra was on stage throughout the performance as are most of the cast members. And, in a nice touch, a few members of the audience are also seated on stage and take part in some of the numbers. 

Onegin plays through March 31 in Stoneham, and I highly recommend it. This Greater Boston Stage Company production is well worth seeing.  With political divisions permeating so much of our daily lives, it is nice to be able to take a break from the madness and see a play that is touching, human, and has such a great score. 

Onegin

Greater Boston Stage Company

395 Main Street, Stoneham, MA

781.279.2200

www.greaterbostonstage.org 

Earnie Shavers: Monster Puncher—or Monster Myth?

By 

Mike Silver

 

He uses statistics as a drunken man uses lamp-posts… for support rather than illumination.                                     –Andrew Lang (1844-1912) 

         

Ali vs Shavers

Rating the top-ten heavyweight punchers of all-time would be easy if we just added up the number of knockouts on a boxer’s record.  But that would be a mistake. Without evaluating the quality of the level of competition the statistics are irrelevant. A fighter whose record lists many knockouts over third rate stumblebums is less impressive than one who has faced many more quality opponents and scored fewer knockouts. 

      Possessing knockout power is a huge asset but more important is how effective the boxer is in applying power to achieve the victory. Three months ago Deontay Wilder, possessor of perhaps the hardest right hand punch of any active heavyweight, was lucky to walk away with a draw decision against Tyson Fury. Wilder was by far the superior puncher but he had no strategy other than just throwing punches and hoping one would land. One of those rights finally landed and dropped Fury in the 12th round but Wilder couldn’t finish him off. 

             Superior boxing technique combined with a heavy punch is a dangerous combination. The most obvious example is former light heavyweight champion Archie Moore. During his remarkable 28 year boxing career Moore knocked out a record 131 opponents. Many years ago I interviewed one of his opponents. Willi Besmanoff was a heavyweight contender who had fought both Archie Moore and Sonny Liston. In December 1959 Besmanoff fought a prime Sonny Liston and was stopped on cuts in the seventh round. Willi absorbed some fearsome shots but did not go down. It was the first time in 66 bouts he’d been stopped. Five months later he fought Archie Moore. Besmanoff was knocked down in the 10th round and was taking a beating when the referee intervened and stopped the fight.

“Besmanoff’s answer reveals the difference between a knockout puncher and a knockout artist.”

      I asked Besmanoff who hit harder, Sonny Liston or Archie Moore? “Liston was the stronger, a very powerful man”, said Besmanoff. “But his punches were not aimed that carefully. Moore knew exactly when and where to hit you, and he hit you where it hurt the most. Liston’s punches were more powerful but Moore’s punches were more accurate and damaging.”  Besmanoff’s answer reveals the difference between a knockout puncher and a knockout artist. 

     Even if we had a machine that could measure the power of every boxer’s punch (I’m sure Wilder would rate very high) it would still not give us the answers we seek. A powerful punch is but one of several tools in a boxer’s arsenal. What good is that tool if a fighter cannot or will not utilize it to its fullest potential? 

      There are four criteria that must be considered when evaluating a heavyweight’s rating as a puncher. Fist we start by analyzing the quality of his competition. Next we determine how many KOs were scored over opponents who were rarely, if ever, stopped. A Third consideration is the ability to maintain effective punching power into the late rounds. This quality can be influenced not just by the fighter’s endurance but also his psychological makeup. How does he react when his punches are not having the desired effect? Is he capable of adjusting his strategy when things are not going his way?  

     The fourth requirement is that a great puncher also has to be a great finisher. Once an opponent is hurt he will know how to end the fight quickly and efficiently. The textbook example of this can be found in any film of a Joe Louis KO victory, especially his one round annihilation of Max Schmeling and his 13th round knockout of Billy Conn.  

“These are qualities that cannot be measured by statistics or a cleverly edited highlight video.  Too often opinion is influenced by frivolous hype that lacks context and depth.”

These are qualities that cannot be measured by statistics or a cleverly edited highlight video.  Too often opinion is influenced by frivolous hype that lacks context and depth.  Search the internet under the topic “Greatest Heavyweight Punchers” and every list that comes up will include Earnie Shavers. Of course Earnie possessed awesome power. That fact is not in dispute. His right cross was a frightening weapon—when it connected. But I cannot rate him among the top-ten all time heavyweight punchers, or even the top 20, for that matter. Before you blow a gasket keep in mind the four criteria mentioned earlier. We are not just considering raw power, but the effective use of that power to achieve victory against quality opposition on a consistent basis. If Sandy Koufax, the great baseball pitcher, had never learned to control his fastball, his full potential would never have been realized. Pure speed was not enough, just as raw power is not enough unless it can be used effectively to achieve the desired result. 

The problem for Earnie was that throughout his career he remained a second rate boxer with a first rate punch.”

     The problem for Earnie was that throughout his career he remained a second rate boxer with a first rate punch. When we combine that flaw with his serious stamina issues the true measure of his greatness (or lack thereof) as a puncher comes into clear focus. The key to defeating Earnie was not to let him hit you, which wasn’t that difficult if you were a skilled boxer. But even if he did hit you with his best punch and you stood up and fought back, as happened on at least five different occasions, it was Earnie who was stopped. 

     Shaver’s greatest victory was his first round KO of former champion Jimmy Ellis in 1973. It was that win that thrust Shavers onto the world stage. He came into that fight with a 44-2 won- loss record that included an astounding 42 wins by knockout. Thirty-seven of those victims never made it past the 4th round. Nevertheless, even though the 33 year old Ellis was at least a year past his prime he was a pronounced favorite to win. The odds makers weren’t fooled. An examination of his record revealed his 42 KO victims had a total of 334 losses (and nearly half by knockout).

      Ellis was very confident, as he should have been—maybe too confident. He came out punching in the first round and had Shavers in trouble right away. In desperation Shavers threw a right uppercut that landed flush on Ellis’s chin sending him sprawling to the canvas where he was counted out.  

     I don’t think Shavers’ management expected their fighter to win. They were well aware of his limitations. Early in his career, in his 15th fight, he was flattened by Ron Stander, a tough undefeated comer with nine straight wins. A decision was made not to take any chances after that loss and instead pad his record by carefully matching him against opponents who were used to losing. Until he met Ellis the only recognizable name on his record was Vicente Rondon, a former light heavyweight titlist whose previous two fights were quick knockout losses to Ron Lyle and Bob Foster. Shavers, fighting in his home town, was awarded the decision but was unable to catch Rondon with a solid punch. 

        

Quarry vs Shavers

After his stunning win over Ellis, Shavers was matched against top ranked Jerry Quarry. The Madison Square Garden crowd expected fireworks and they were not disappointed. Quarry opened up right away and knocked Shavers to the canvas with a series of lefts and rights. He was up at the count of nine and then retreated to the ropes. Quarry was landing punches without a return when the referee intervened and stopped the fight at 2:21 of the first round.

     One year after his debacle against Quarry, Shavers returned to New York, this time fighting in the Garden’s adjacent smaller arena. His opponent was an ordinary but tough journeyman boxer named Bob Stallings, whose record was an uninspiring 21 wins and 24 losses. Stallings was able to avoid Shavers’ bombs on the way to winning a unanimous decision. It was only the second time Shavers had gone ten rounds and his lack of endurance was evident as he barely made it to the final bell.

      Three weeks after losing to Stallings he fought a 10 round draw with Jimmy Young. After three more victories against modest opposition he faced his next big test against top ranked Ron Lyle. The two power punchers staged a free swinging brawl that saw Lyle come off the floor to outlast Shavers and stop him in the sixth round.   

“Now that Shavers was meeting a better class of boxer he was scoring far fewer knockouts.”

      Now that Shavers was meeting a better class of boxer he was scoring far fewer knockouts. Whereas prior to his loss to Quarry his KO ratio was 91 per cent, in his subsequent 41 fights he scored only 23 knockouts for a 56 per cent ratio. During that time he knocked out only one rated contender while going the 10 round distance with Henry Clark, Leroy Boone, James Tillis and Walter Santemore—not exactly household names. These last two were able to avoid Shaver’s equalizer and outpoint him. But he did show improvement in knocking out Clark in a rematch and stopping Howard Smith and Roy Williams, all three of whom were decent heavyweights. 

    

Lyle vs Shavers

On the rare occasions when a fighter was crazy enough, or tough enough, to exchange blows with Shavers the chance for a successful outcome improved if they could get beyond the 5th round. Bernardo Mercado, and Tex Cobb did just that. They took Shavers’ best shots and eventually stopped him in the 7th and 8th rounds respectively. Cobb was asked what it was like to be hit by Shavers. “The first right he threw missed and landed on my shoulder”, said Tex.  “It felt like someone had dropped a bowling ball on my shoulder”.     

     Ken Norton was the only rated contender, other than Jimmy Ellis, that Shavers was able to defeat. Nearing the end of his career Norton seemed ready to accept defeat as soon as the bell rang. Perhaps it was the memory of his brutal knockout at the hands of George Foreman five years earlier that froze him into inaction against another big puncher. In a suicidal move Norton quickly retreated to the ropes where he presented Shavers with his dream target—a stationary fighter who would not fight back. After two knockdowns the fight was stopped in less than two minutes of the first round. 

     In his prime Shavers lost to Larry Holmes (twice), Jerry Quarry, Ron Lyle, Bob Stallings, Bernardo Mercado and Tex Cobb and couldn’t take out a light heavyweight (Rondon) who in his previous fight was flattened in two rounds by Bob Foster. 

     So what is the explanation for so many people believing Earnie Shavers is an all-time great puncher? I believe it can be traced to the hype surrounding two of his most important fights, both of which, ironically, he lost.

       In 1977 Shavers fought Muhammad Ali for the heavyweight championship.  It was a fight that should never have taken place. At 35 Ali was washed up but refused to accept reality. Making matters worse, he barely trained for the fight. Ali came into the ring weighing 225 pounds, the heaviest of his career. He was fleshy and out of shape. The “float like a butterfly, sting like a bee” days were long gone.

     If Ali had come into the ring in shape even at that late stage of his career he could have stopped Shavers in the eighth or ninth round. The key was to not let Shavers control the pace of the fight and rest when he wanted. But Ali had to rest as much as Shavers. The image that everyone remembers from the fight was The Greatest being rocked again and again by Shaver’s horrific punches as they slammed into his head. I counted at least 17 full force overhand rights that landed. At one point Ali nearly went down. It was amazing that he stood up under these punches. Only his ring guile, incredible chin, and Shaver’s lack of stamina kept him from being knocked out. It was the worst head beating of Ali’s career and did much to accelerate his descent into pugilistica dementia. At the end of 15 sickening rounds Ali was awarded the unanimous decision. Many fans thought the decision should have gone to Shavers. 

    When he was interviewed after the fight an exhausted and hollow eyed Ali made the memorable comment that added fuel to the growing respect for Shaver’s punching power: “Ernie hit me so hard, he shook my kinfolk back in Africa”. 

      

Holmes vs Shavers

Two years later Shavers fought Larry Holmes for the heavyweight championship. For six rounds he tried mightily to land his haymaker but kept missing. Then, suddenly, in a brief moment of carelessness Holmes left himself open and one of Shaver’s wild swings connected to the side of his jaw. Holmes fell hard and landed flat on his back.

     Holmes had never been knocked down. He was hurt but was up at the count of six and survived the round. Holmes continued his domination over the next three rounds. In the 11th round, with Shavers sucking wind and barely able to hold up his hands, the referee stopped the fight. Holmes told reporters that Shavers was the hardest puncher he had ever faced.

     A huge deal was made of Holmes getting off the canvas and surviving the 7th round. It really was much ado about nothing. In their two fights totaling 23 rounds it was the only round Holmes lost. But it was a heavyweight title fight and the big punch had come out of nowhere to nearly upset the applecart. That is exactly why people are drawn to heavyweights. You never know when the big punch might land. And it is why people were drawn to the popular Shavers whose very presence in the ring generated a certain amount of excitement, as is the case with all big punchers, no matter what weight class they compete in.  

     The following week the cover of Sports Illustrated featured a photo of the fight with the headline “Can’t Keep A Good Man Down: Holmes Comes off the Deck to Overpower Shavers”. So in trying to build up Holmes the press had to build up Shavers as well. The fact of the matter is that despite hurting Holmes with his best punch he was unable to finish him. The hype over that one punch was blown way out of proportion. But the sport needed something to get excited about in the post Ali era. (Ali had announced his retirement a year earlier). The new heavyweight king by comparison was a competent but colorless champion who ruled over a division depleted of talent. 

     Earnie Shavers gave us some of boxing’s most memorable moments. He is a class act and a credit to the sport. But his reputation as a great puncher is based on a lucky punch KO of Ellis, a fight that he lost (Ali), one spectacular knockdown (Holmes), and comments by several former opponents who beat him. That alone is not enough to place him among the greatest heavyweight punchers. Let the facts speak for themselves.

Mike Silver’s newest book is “The Night the Referee Hit Back: Memorable Moments From the World of Boxing” a collection of the author’s best articles and interviews from the past 40 years. 


https://youtu.be/_U_DM6Nj7mM

Review: “Twelfth Night” At The Lyric Stage

Art Thou Ready To Rumble?
Paula Plum Scores A Knockout
With The Lyric Stage/Actors’ Shakespeare Project’s 

Twelfth Night

 

Reviewed by Bobby Franklin

Bobbie Steinbach, Alejandro Simoes, Michael Forden Walker

Twelfth Night is considered one of William Shakespeare’s three great comedies. It is also a dark comedy, as well as the Shakespeare play that contains the most music. While it is not exactly known what the songs would have sounded like in the original productions, the lyrics are contained in the plays.

In this production, the Lyric Stage Company has joined with Actors’ Shakespeare Project and the results are delightful. Under the creative direction of Paula Plum, the action is moved from the Elizabethan Period to the 1920s. The set is modeled after New Orleans’ French Quarter and is softly lit, giving it a jazz club feel.

This is fitting, as Ms Plum has employed the very talented David Wilson to compose music to accompany the lyrics Mr. Shakespeare has provided. The bluesy jazz has the feel of Billie Holiday crossed with George Lewis. The songs are performed by Rachel Belleman in the role of Feste. Ms Belleman has an exquisite voice as she sings while being accompanied by digital music that is piped in through a juke box. Other than realizing there is not an orchestra present, you would never guess Mr. Wilson has made this happen through the wonders of modern technology. There are also flapper era songs such as I Wanna Be Loved By You and Someone To Watch Over Me that are played as incidental music.

Twelfth Night utilizes many of the familiar devices Shakespeare uses. A pair of twins that are separated, gender bending, a shipwreck, mistaken identity, and a character who is outcast by the others. It can get confusing, but that is the charm in it all.

In addition to Rachel Belleman’s Feste, and she brings much to her fine performance than her amazing singing talents, the stage is populated with a strong cast of Boston veteran actors and young talent who do not disappoint.

Richard Snee, Michael Forden Walker, Bobbie Steinbach, Jennie Israel

Bobbie Steinbach and Alejandro Simoes as Sir Toby Belch and Aquecheek respectively, bring a vaudeville/slapstick flavor to their parts. There are also shades of Laurel and Hardy. They are dressed in brightly colored costumes and wear derbies. Ms Steinbach reminded me a bit of the Penguin from the Batman series. As usual, she is a presence on the stage but never at the expense of her fellow players. Michael Forden Walker in straw hat as Valentine and Maria played by Jennie Israel round out the gang who set up Malvolio. This is Shakespeare meets vaudeville.

They are really funny, but the darkness also comes through when they begin to gaslight the somber Malvolio played by Richard Snee. This is a more sympathetic Malvolio than is sometimes seen. He is stern and unforgiving in his treatment of Sir Toby and Viola. A steward to Olivia, he is duped into believing she has romantic intentions toward him. The scene where he dresses in cross garters and yellow stockings is right out of Sid Caesar and is hysterical, which makes his embarrassment the more palpable when he finds out he has been duped. Imprisoned for madness, his rage is understandable, and Mr. Snee delivers Malvolio’s angry words to his tormenters like a cannon shot fired into the audience.

Richard Snee, Samantha Richert, Rachel Belleman

The dueling scene is presented as a boxing match, and while the legacy of Joe Louis is not threatened, it is fun and lively. Hearing the lines “Art thou ready to rumble?” was really amusing and a nice touch by Ms Plum.

Samantha Richert is a boozy Olivia dressed as a 1920’s flapper. She and Orsino are both smitten with Cesario who is really Viola in disguise. Played by Hayley Spivey, Viola has been shipwrecked in Illyria and believes her twin brother Sebastian (Dominic Carter) has been lost.

Ms Spivey and Mr. Carter are both making their Shakespearean debuts in Twelfth Night, but you would never know it by their performances. Hayley Spivey is confident and recites her lines flawlessly. Her timing is impeccable and precise as she moves effortlessly across the stage.

Dominic Carter has fewer lines, but the old saying about less being more certainly holds true for him. There is almost a shyness about his performance that makes it both subtle yet understatedly powerful. I was very impressed with both Mr. Carter and Ms Spivey. I hope they will take to the stage in future Shakespeare productions.

Hayley Spivey, Alejandro Simoes, Samantha Richert, Dominic Carter

This Lyric Stage/Actors’ Shakespeare Project collaboration is terrific. The Lyric has not put on a Shakespeare play in some time and opening up the theatre in Copley Square for this production shows how well two different companies can work together. I thought “Oh No! Two Artistic Directors working on the same project at the same time! This could get crazy.” However, Spiro Veloudos at the Lyric and Christopher Edwards from ASP obviously work well together. I think they also let director Paula Plum have a free hand, and that was wise.

Some people are not happy when a Shakespeare play is set in a more modern era. It never has bothered me as long as it stays true to the original in dialog and meaning. This does not mean it always works. This one does, and it works extremely well. It is highly entertaining, funny, the music is perfect while the story remains intact and as meaningful as ever.

Alejandro Simoes, Hayley Spivey

To those of you who still suffer from the slings and arrows of that high school teacher who managed to instill in you a lifelong dislike of the world’s greatest playwright, have no fear as you will enjoy this production. I heard some people at intermission saying the play was confusing. Well, it is and is supposed to be. The characters become confused. Many plays take time to resolve themselves as they progress, and this is rarely an issue. In Shakespeare, however, I think the ghosts of teachers past sometimes haunt us. My advice: don’t hang on every word, don’t worry if you feel you are not getting the story immediately, remember that you will not be given a test right after, and most of all, remember that you are not reading it. You are watching it which is the way it was meant to be experienced.

Relax and enjoy what has to be one of, if not the, best productions of a Shakespeare play this season. As Orsino says “If music be the food of love, play on; Give me excess of it”. The music at the Lyric stage is certainly the food of love…and of great theatre.

Photos by Mark S. Howard

Twelfth Night
Through April 28
The Lyric Stage, Copley Square, Boston
lyricstage.com 617.585.5678

“Million Dollar Quartet” Opens At Greater Boston Stage Company April 25

GREATER BOSTON STAGE COMPANY
PRESENTS THE TONY AWARD-WINNING SMASH HIT MILLION DOLLAR QUARTET 

Greater Boston Stage Company proudly presents the beloved rock ‘n’ roll musical Million Dollar Quartet. Million Dollar Quartet brings to life the famed 1956 on-the-fly recording session at Sun Records that brought together icons Elvis Presley, Johnny Cash, Jerry Lee Lewis and Carl Perkins for one of the greatest jam sessions ever. Featuring a score of hits that includes “Blue Suede Shoes,” “Great Balls of Fire,” “Walk the Line,” “Hound Dog,” and more, Million Dollar Quartet will have audiences dancing in their seats. Directed by Associate Artistic Director Ilyse Robbins, performances run April 25 – May 19, 2019. 

Shares Robbins, “I first heard about Million Dollar Quartet from my parents. They enjoyed it so much, that they saw it twice – in New York and on tour. It turns out that in one of the productions, my parents saw our Music Director and Jerry Lee Lewis, James Scheider, who was their favorite part of the show.” She continues, “Million Dollar Quartet is an evening of song, joy, and story – three things that I love.” 

The Million Dollar Quartet Cast features Melissa Geerlof, Nile Scott Hawver, Luke Linsteadt, Trey Lundquist, Matthew Pitts, Austin Wayne Price, Robert Saoud, and James Scheider. 

The Design Team is comprised of Scenic Designer Patrick Lynch, Lighting Designer Jeff Adelberg, Costume Designer Stephen LaMonica – a Young Company alum, Sound Designer John Stone, and Props Master Emme Shaw. Music Direction is by James Scheider.

pastedGraphic_6.pngBox Office: (781) 279-2200, 395 Main Street, Stoneham, MA 02180 Mondays – Fridays, 11am to 6pm; Saturdays, 1pm to 6pm  www.greaterbostonstage.org

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Seaglass Chorale Presents Carl Orff’s Carmina Burana

Sunday, April 28, 2019

Sanford Performing Arts Center at Sanford High School, 100 Alumni Boulevard, Sanford, Maine 3:00 pm

Seaglass Performing Arts Chorale, conducted by Artistic Director and Founder JeanStrazdes, will be performing Carl Orff’s Carmina Burana at the new Sanford Performing Arts Center at Sanford High School, Sanford, Maine at 3:00 pm on April 28, 2019. The performance will be one of the premiere concerts at the new center and is in celebration of Seaglass Performing Arts’ 25th anniversary performance year. The Chorale will be collaborating with the Chamber Singers of Sanford High School under the direction of Jane Kirton and the Marshwood Middle School Chorus under the direction of Kris Bisson.

Seaglass Chorale is proud to present Carl Orff’s masterwork, Carmina Burana, featuring soprano Sierra Marcy, baritone Will Prapestis, and a children’s choir from Sanford Middle School. Carmina Burana is a scenic cantata composed by Carl Orff in 1935 and 1936, based on 24 poems from the medieval collection of the same name. The first and last movements of the piece are called “Fortuna Imperatrix Mundi” (“Fortune, Empress of the World”) and start with the very well known “O Fortuna”. Carmina Burana was first staged in Frankfurt, Germany, by the Frankfurt Opera on June 8, 1937, to wide acclaim. Since then, no other Orff composition has approached the renown of Carmina Burana, as evidenced in both pop culture’s appropriation of “O Fortuna” and the classical world’s persistent programming and recording of the work. In the United States, Carmina Burana remains intensely popular.

Tickets for this single performance of Carmina Burana are $20 (at the door); $15 (online and advance purchase); $10 (students 12 to 18); free for students under 12. Tickets can be purchased online at seaglassperformingarts.org, from any chorale member and are also available at Morse Hardware on Route 1 in Wells.

Seaglass is a 501(c)3 not-for-profit organization.

Review: “American Moor”

Keith Hamilton Cobb Starts An Important Conversation

Review: American Moor

Written and Performed by Keith Hamilton Cobb

Directed by Kim Weild

Presented by ArtsEmerson

Through April 21

Emerson Paramount Center, Boston

Reviewed by Bobby Franklin

Photo Credit:Chris Lang Photography

Keith Hamilton Cobb loves the work of William Shakespeare. His passion for and relationship with the words are conveyed strongly early on in American Moor, the autobiographical play he has written and he is now performing in at the Emerson Paramount Center in Boston. His enthusiasm is infectious as he takes the stage and recites lines and passages while telling the story of how he came, at an early age, to love the great plays. He is funny, provocative, and touching. If this were only a work about one man’s journey of discovering Shakespeare it would be outstanding. However, there is much more to Mr. Cobb’s story.

You see, Mr. Cobb is an actor and a Shakespearean. He is also a 6’4” black man, and in his relationship with the theatre that fact cannot be ignored. Early on when he was asked what characters from Shakespeare he would like to perform he mentioned Hamlet, Romeo, and even Titania from A Midsummer Night’s Dream. It was assumed he would say Othello, or the big “O” as the role as become known. It is here where we begin to see his anger. 

Mr. Cobb is on the stage alone for the entire 90 minute performance. Josh Tyson plays a director who speaks from a seat in the audience, and the dialog between the two is both funny and revealing. As Cobb is reciting his lines the director is giving him suggestions on how he should deliver them. Cobb pulls no punches in his feelings about people who interpret Shakespeare with an arrogance and superiority as if they had been close friends with him. It is particularly irritating to him when he hears “What Shakespeare was trying to say here…” His responses to these comments are spoken aloud with anger and frustration, and he is quick to point out that he didn’t actually say them when being auditioned but was thinking then. After all, he was trying to get a job, and he doesn’t get to interview the artistic directors.

At this point we see his bond with Othello begin. Othello was also involved with acting a certain way in order to maintain his job. He becomes protective of the Moor and questions how a white director can understand what goes on in the mind and psyche of a black character, and a black actor. He argues that his being a large black man gives him a particular insight that a white person could never feel. 

This work is a great starting point for a “conversation”, a word that is so often used today but rarely happens in America, about race. Is it true that only a black man can  inhabit and understand the role of Othello? And if that is true, doesn’t it mean that Mr. Cobb could end up pigeon holed in roles that only match his race? I certainly hope not. I’d love to hear more of his thoughts about cultural appropriation and how it should be handled in the theatre. 

In the end Cobb does reveal that he was making it too personal, that he is the vessel for the words of Shakespeare. It might also be asked how this dead white male was able to create such a complex character who was so different from himself.

Photo Credit: Ernesto Galan

American Moor is a fascinating work that touches on so many emotions and questions. It would be easy to sit through it and treat it as a lecture on how white people just don’t get it, and in so many ways that is true. But, it would be a shame if it is only seen as that. It is such a good place to begin the conversation, and theatre is a place to explore the feelings of those different from us and to speak openly and honestly with those with whom we have differences. 

 I do know the hour and a half I spent watching Mr. Cobb perform got my mind working. His strong emotions got my own to react. In my mind I was having a conversation with him, and I left the theater with many questions.

He talked about people expecting a black actor to behave in a certain way. It is also true many white people think they have to behave in a certain way when interacting with a black person. Wouldn’t it be wonderful if we could be ourselves and speak openly about these issues. 

Keith Hamilton Cobb has been open with his emotions. He is honest and revealing and that takes courage. Exploring these issues through the work of William Shakespeare is a fine way to approach them. I recommend you head over to the Emerson Paramount Center and listen to what Mr. Cobb has to say. If the conversation makes you uncomfortable, he is doing his job. If you manage to leave the theatre without wanting to hear more Shakespeare, well, then you really weren’t paying attention. 

Lyric Stage Presents “Pacific Overtures”

PACIFIC OVERTURES

Music and Lyrics by Stephen Sondheim

May 10th Through June 16th

Book by John Weidman

Directed by Spiro VeloudosMusic Director, Jonathan GoldbergChoreography by Micheline Wu

Additional material by Hugh WheelerOrchestrations by Jonathan Tunick
Original Broadway production directed by Harold Prince and Produced by Harold Prince in association with Ruth Mitchell

May 10 – June 16, 2019

This startling, entertaining, and thrilling masterpiece puts a cap on Spiro Veloudos’ multi-year Sondheim Initiative. An unlikely friendship is forged between a samurai, Kayama, and an Americanized fisherman, Manjiro, during Commodore Matthew Perry’s 1853 mission to open trade relations with isolationist Japan. The two friends are caught in the inevitable winds of change and tell the story of Japan’s painful and harrowing Westernization. A highly original, inventive, powerful, and surprisingly humorous theatrical experience.

FEATURING:
Kai Chao, Sam Hamashima, Alexander Holden, Elaine Hom, Carl Hsu, Brandon Milardo, Gary Thomas Ng, Jeff Song, Karina Wen, Micheline Wu, Lisa Yuen.

Lyric Stage Company of Boston
Copley Square, Boston
Box Office 617-585-5678 lyricstage.com

boxoffice [at] lyricstage [dot] com

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ARTSEMERSON PRESENTS “SEE YOU YESTERDAY” 

SECOND-GENERATION SURVIVORS OF THE KHMER ROUGE GENOCIDE SHATTER ITS SILENCE 

ARTSEMERSON PRESENTS 

SEE YOU YESTERDAY 

BY GLOBAL ARTS CORPS
IN PARTNERSHIP WITH PHARE PERFORMING SOCIAL ENTERPRISE AND PHARE PONLEU SELPAK ASSOCIATION

FIVE PERFORMANCES ONLY
MAY 16 – 19, 2019
AT THE EMERSON PARAMOUNT CENTER

Photo Credit:Jacqueline Lessac

On the heels of Cambodian New Year, ArtsEmerson is honored to welcome See You Yesterday, a moving performance by Global Arts Corps which explores the painful history of the Khmer Rouge genocide in Cambodia. Directed by Michael Lessac, nineteen Cambodian performers utilize their extraordinary physical skills, including acrobatics and circus arts, to travel back in time and shatter a legacy of silence. Global Arts Corps brings See You Yesterday’s U.S. premiere to Boston to close ArtsEmerson’s 2018/2019 season, for five performances only, May 16-19, at the Emerson Paramount Center Robert J. Orchard Stage. 

Over 22 weeks of development since 2012, Global Arts Corps—whose celebrated work brings together people from opposite sides of violent conflicts—collaborated with these young Cambodian artists as they grappled with the painful history of their country’s genocide. While details of the four-year horror have largely gone unexplored by younger generations of Cambodians, the cast of See You Yesterday interviewed their elders (and even a former Khmer Rouge child soldier) to build a stunning performance that is both beautiful and cathartic. 

“In 2013, when we brought our Northern/North of Ireland production Hold your Tongue, Hold your Dead to Boston audiences, we witnessed two communities, separated by an ocean and burdened by their own personalized historical memories, find a common healing ground in talk- backs across the footlights,” says See You Yesterday director Michael Lessac. “At a time when we seem to be clinging to what separates us and not what connects us, we wanted to be in the same place again to see what happens when another, totally different, theatrical vision of honesty, tenacity, and imagination takes the ArtsEmerson stage. See You Yesterday brings to Boston a cast of young Cambodian circus artists whose culture has forced them to live in silence with a harrowing memory. They have created a performance that shows us how hope can emerge from despair and how truth can emerge out of a powerfully moral and courageously honest imagination. I could not be more proud to be working with David Dower and his extraordinary team, in the namesake space of my old friend, Rob Orchard, as we once again explore together what happens when inherited conflict and unspoken multiple truths are surfaced across continents so that generations can talk to each other again.” 

See You Yesterday is precisely the kind of experience that ArtsEmerson has become known for over these past nine seasons,” says ArtsEmerson artistic director David Dower. “The show puts one of most vibrant world cultures in the spotlight. Our region hosts one of the largest Cambodian communities in the nation and as with last season’s Bangsokol, we are presenting it in deep partnership with that community, both in Boston and in Lowell. This effort to put the world on stage in dialogue with diverse communities delivers that particular synergy between the art and the audience that our supporters have come to count on. See You Yesterday also uses a form of storytelling that is entirely ArtsEmerson – sharing its moving search for restorative justice through the tools of circus and dance. We are proud to be working with Michael Lessac and Global Arts Corps to tell this story.” 

artsemerson.org 

617-824-8400

Jersey Boys Kicks Off Ogunquit Playhouse 2019 Season

Ogunquit Playhouse Season Opens with the Multi-Tony Award-Winning Musical “Jersey Boys”

Runs From May 15 Through June 15

The Ogunquit Playhouse 2019 season kicks off with Jersey Boys! The multi-Tony Award-winning, international sensation that performed to sold-out houses during its run in 2018, is back by popular demand May 15 through June 15. The cast that BroadwayWorld exclaimed to be “the closest you’ll ever get to having seen Frankie Valli and the Four Seasons,” also returns to the Ogunquit stage – Jonathan Mousset (Frankie Valli), Matt Magnusson (Tommy DeVito), Andy Christopher (Bob Gaudio), and Matthew Amira (Nick Massi).

Follow the incredible story of four guys bound by one dream, who worked their way from the streets of New Jersey to the heights of stardom. Jersey Boys takes audiences on an exhilarating journey with the electrifying performances of the golden greats that took these hometown boys from Jersey all the way to the top of the charts: “Sherry,” “Big Girls Don’t Cry,” “Can’t Take My Eyes Off You,” “Dawn,” “My Eyes Adored You,” and many more. If you missed it last year, don’t miss your chance to see this blockbuster show – you’re sure to leave exclaiming, “Oh, What a Night!”

Starring as Frankie Valli, lead vocalist of The Four Seasons is Jonathan Mousset. His phenomenal performance, falsetto, and range was described as astounding by the Portland Press Herald last season. Mr. Mousset has performed in many regional theatres across the U.S. in such shows as Newsies, In the Heights, and Godspell. He has also performed in concerts at New York City venues including 54 Below, the Times Center, and the Town Hall. Matt Magnusson returns to play charming bad-boy Tommy DeVito, the lead guitar player of The Four Seasons, who serves as the show’s primary narrator and founding member of the band. Mr. Magnusson has numerous regional theatre credits including Grease, Spring Awakening, American Idiot, and Ring of Fire. 

Reprising his role from last season as Bob Gaudio, the sensible and poised songwriter behind The Four Seasons is Andy Christopher. He has performed as Buddy Holly in the National Tour of Buddy: The Buddy Holly Story and in many regional theatres across the U.S. including Bucks County Playhouse, Flat Rock Playhouse, West Virginia Public Theatre, The Muny, Pittsburgh Civic Light Opera, Great Lakes CFA, Fulton Theatre, Maine State Music Theatre, Casa Mañana, and the Ogunquit Playhouse where he got his start in 2012. Matthew Amira also returns to the Playhouse after his highly regarded portrayal of The Four Seasons bassist Nick Massi. Mr. Amira also performed at the Ogunquit Playhouse in the 2016 production of The Hunchback of Notre Dame. His many regional theatre credits include Madame Defarge, She Loves Me, Fiddler on the Roof, and South Pacific among others.

The Ogunquit Playhouse production will once again be helmed by Award-winning director, writer and producer Holly-Anne Palmer. Ms. Palmer is the lead Producer and Creative Director of theglobal hits Wine Lovers the Musical, PROHIBITION, and Holiday Happy Hour. She has numerous Broadway credits including Jersey Boys, Billy Crystal’s 700 Sundays, Bring It On: The Musical, Dracula, Walking With Dinosaurs, and Cover Girls. Her many Off-Broadway and regional credits include the 25th Anniversary Production of Steel Magnolias at Le Petit Theatre, Gentleman’s Wish and Will Success Spoil Rock Hunter? at Barrow Group, Platforms at TASC, Autophobia at Ars Nova, Inventing Avi Aviv at Abingdon Theatre, Oklahoma! for the Reagle Players, and for the Ogunquit Playhouse 2009 production of All Shook Up starring Sally Struthers.

www.ogunquitplayhouse.org

Box Office 207.646.2402 

Video From Last Year’s Outstanding Run. This year Jersey Boys plays from May 15 through June 15:

Requiem For A Houston Heavyweight: The Tragedy Of Cleveland Williams

Cleveland Williams Never Should Have Been Allowed To Face Ali

By Bobby Franklin

Williams and Ali

In the opening sequence of the movie Requiem For A Heavyweight, a young Cassius Clay is seen throwing a punches during a fight. The view of the action is seen through the eyes of his opponent Mountain Rivera, played by Anthony Quinn, a washed up former contender who is now being used as an opponent and as a way for his unscrupulous manager Maish Rennick, played by Jackie Gleason, to keep squeezing a few more dollars out of him. It is a tragic story about a fighter on the way out being milked by the creeps that infest the world of boxing. The movie is fiction, but the real life world of boxing is not much different from what is depicted in it. 

The story of Cleveland Williams and his fight against Muhammad Ali fits the ugly narrative of Requiem For A Heavyweight pretty closely. In fact, what was done to Williams was much worse than what was done to the fictional Rivera. First, some background.

When asked what fight shows Muhammad Ali at his absolute peak, most boxing aficionados will point to the champ’s bout against Cleveland “Big Cat” Williams. That choice makes sense when you look at the fight without knowing the background of the challenger and his physical condition at the time of the fight. It also adds up if you only look at Ali’s performance and don’t examine Williams’ moves during the fight.

Ali Drops Williams

The fight took place on November 14, 1966 at the Astrodome in Houston, Texas. Ali had won the title on February 25, 1964 with a stunning upset over Sonny Liston. A little over a year later he again defeated Liston, this time by a first round knockout in Lewiston, Maine. Muhammad vowed to be an active champion and he lived up to that promise. Over the next year leading up to the Williams bout, Ali fought five times defending the title both in the United States as well as in Europe. He decisively defeated all the opponents put in front of him. The list includes Floyd Patterson, George Chuvalo, Henry Cooper, Brian London, and Karl Mildenberger. These opponents may not make it to anyone’s list of all time greats, but they were the leading contenders at the time. Ali was not one to duck an opponent. 

During the reign of Floyd Patterson, most of the top contenders were denied a shot at the title. Things were different with Ali as champ. Talented and confident, he was willing to take on all comers. But unfortunately, as 1966 was closing out there really weren’t any outstanding contenders  that stood a chance against Muhammad. The young crowd which included Jerry Quarry, Joe Frazier, Oscar Bonavena, and Thad Spencer were still a few years away from being ready to challenge for the title. Ali had been going through the former champs and contenders that were now beginning to age. There had been an effort to make a match against Ernie Terrell who claimed the WBA Heavyweight Championship, but terms for a contract had not been able to be worked out. Ali would go on to face Terrell the following year. He would also give Zora Folley a chance in 1967 in what would be Muhammad’s last fight before being exiled from boxing over his refusal to be inducted into the United States Army.

In the meantime, the name Cleveland Williams was tossed into the mix. A resident of Houston, Williams had a reputation as a very hard puncher. At the time, Ali had been so successful at not getting hit it was thought he might have a weak chin. After all, Henry Cooper had decked him with a left hook. Even though he was not a ranked contender, the fight was sold on the basis of Cleveland’s punching power. While Ali would certainly be the favorite, Williams had a “puncher’s chance,” at least that’s what the promoters convinced the public of. 

The fight drew a live audience of 35,460 fans to the Astrodome, setting a record at the time for the largest crowd to witness an indoor fight. Gross receipts were $461,290 plus revenue from television and radio. The hype had worked.

As for the fight. Ali certainly looked impressive as he moved around Williams landing punches at will while never getting hit a serious blow in return. It was all over at 1:08 of the third round after Williams had been dropped on four occasions, three times in the second round and once in the third before the referee stopped the carnage. It was one of the most one-sided fights in heavyweight championship history.

Did Ali look magnificent that night? Without a doubt he did. He had the grace of a ballet dancer, the speed of a middleweight, and reflexes that were phenomenal. He was poised and relaxed. However, this was not a great win for him. While it is breathtaking to watch him in action against Williams, it must also be taken into account the caliber of his opposition. This is also not the fight to use when arguing how great Ali was. For while Ali had been staying very active in the years leading up to the fight, things were a bit different for Williams.

Cleveland Williams

And The Ugly Side Of Boxing

Big Cat Williams

Cleveland Williams was born on June 30, 1933 in Griffin, Georgia. He has stated he began his professional boxing career at the age of fourteen, lying about his age in order to get a license to box. When his real age was discovered he had to put his career on hold. A few years later he moved to Florida where he began boxing again. 

According tom BoxRec, his first official pro fight was against Lee Hunt on December 11, 1951. He won by a knockout in the 2nd round. He went on to win 28 in a row with 25 victories by knockout. All his fights were in the South. He proved to have terrific punching power but, with the exception of Omelio Agramonte who was long past his prime, had not beaten any significant opposition.

The win against Agramonte did earn him a chance to fight in New York  where he took on Sylvester Jones who was in only his tenth fight. This was a four round preliminary bout and Cleveland was dropped twice on his way to losing a decision. The fight was on the undercard of the Marciano/LaStanza Heavyweight Title fight.

Satterfield Knocking Out Williams

Williams returned to Florida and ran off five more wins including a knock out over Jones. He was now matched against Bob Satterfield in Miami Beach. Williams was a late substitute for Satterfield’s original opponent. Even though he had a 25 pound weight advantage, Williams was knocked cold by Satterfield in the third round and it took several minutes to revive him.

Again, Williams resumed his career and ran up a series of wins. His next big chance would be against top contender Sonny Liston. It was April 15, 1959 and Liston stopped him in the third round. The two would fight again a year later and Liston would win by kayo in the second round.

Williams did not give up and had his best years in 1961 and 1962. During this time he scored wins over such fighters as Alex Miteff, Wayne Bethea, Alonzo Johnson, and Ernie Terrell. He also held Eddie Machen to a draw. There was now some talk of him getting a shot at the title. In a rematch with Terrell he lost a decision and in the meantime a young upstart named Cassius Clay had wrested the title from Sonny Liston.  While Clay was winning the title in 1964, something major was also happening in the life of Cleveland Williams, something major and tragic.

On the night of November 29, 1964 Williams was stopped by a Texas State Police officer for suspicion of driving while intoxicated. What ensued is somewhat disputed, but the two got into a struggle and during the altercation the officer’s 357 Magnum was fired sending a bullet through Williams’s body ripping through his intestines and right kidney, lodging against his right hip. He was taken to a hospital where he died three times on the operating table. He lost a kidney and the bullet remained in his body. He shrank down to 155 pounds and had several more operations over the next 7 months. During his time in the hospital, Williams’s co-manager, Bud Williams, told him not to worry about the cost of his care as it was all being covered. Williams was not told by Adams that a tally was being kept and that Cleveland would be held liable for the expenses.

Hugh Benbow and Sonny Liston Visit Cleveland Williams In The Hospital

Cleveland Williams proved to be an amazing patient. In spite of all the damage he sustained from the shooting, he was determined to fight again. This was not a wise decision for a man who had been through what he had, but even though he now had only one kidney and a bullet still lodged in him, his managers encouraged him to continue boxing. They knew they could still make money with him. He began regaining his strength by working on his manger’s ranch. The manager, Hugh Benbow had bought out Bud William’s share of Cleveland’s contract and now was fully in charge. Williams regained much of his muscle mass and once again looked formidable, but the nerve damage had caused permanent harm to his reflexes. Just imagine, having your insides shot to pieces from a 357 Magnum and then stepping back into the ring just a little over a year later. That is just what Cleveland did.

On February 8, 1966 Williams faced Ben Black, a fighter with only four bouts on his record. He scored a first round kayo. He then went on to fight Mel Turnbow, Sonny Moore, and Tod Herring. He won all three but Turnbow dropped him during their match.

Based on these four wins and some amazing promoting by Hugh Benbow, Williams was now signed to fight Muhammad Ali for the title. Benbow must have had some real pull with the press as it was written that Ali’s camp was afraid of having him take on The Big Cat. It was claimed the only way Benbow could get them to agree was to convince them Williams was still suffering from his injuries from the shooting. To believe Ali only took the bout because he felt he was facing a semi invalid is ridiculous. However, it is true that Williams was in no condition to fight.

I looked back at the ratings during Cleveland Williams years boxing. Ring Magazine only rated him in the top ten during four years: 1961, 1962, 1963, and 1964. He was never ranked higher than number four, and was unranked at the time of his fight with Ali. His reputation was based on his punching power and the fact that Sonny Liston had called him one of the hardest punchers he had ever faced. His biggest fights were his losses to Liston, the victory, later reversed, over Ernie Terrell, and a draw with Eddie Machen.

On the night of the Ali fight, Williams was served with papers from lawyers representing his former manager Bud Adams. The suit being filed claimed Adams was owed $67,615.00 by Williams for the money that was spent while Cleveland was in the hospital. This meant that his purse for the fight would be attached and he would end up with pocket change after the bout. On top of having partial paralysis in his right hip, only one kidney, and a bullet pressing against his hip, Williams now knew he would make no money for the fight. He had to step into the ring that night against one of the greatest fighters of all time dealing with that burden. It was like a scene out of The Harder They Fall. 

When you watch the fight, instead of focusing on Ali pay attention to Cleveland Williams. At the opening bell you can see how stiff his legs are. He actually stumbles a bit as he moves out from his corner. His legs have very little muscle mass. When he misses with a left hook he stumbles. He might look powerful, but the man still should have been in a rehab working on his reflexes and coordination. For Ali, this was more like working out on a heavy bag than fighting a man. 

What Williams did was remarkable in coming back from death. He worked hard and restored his muscles, but he had been torn apart physically and emotionally. He never, never, should have been in a boxing ring. 

Calling this Muhammad Ali’s greatest fight is a travesty. Ali had many great fights, but judging his greatness off of this one is plain silly. I asked boxing historian Mike Silver, the author of The Arc of Boxing about this and he said: “To say that Ali’s knockout of a damaged Cleveland Williams was his greatest performance is like saying the greatest performance of Larry Holmes’ career was his fight against a damaged Muhammad Ali. Both Ali and Williams were “shot” fighters (Williams literally) and were incapable of offering serious resistance.” He is correct. To Ali’s credit he never bragged about this victory. 

Williams quit boxing after this fight, but broke and without a way to earn a living he made a comeback two years later. He fought from 1968 to 1972 when he retired for good. He ended up losing his remaining kidney and had to have dialysis treatments twice a week for the rest of his life. Boxing promoters and managers milked him for all they could get out of him and then left him to fend for himself.  It is an ugly story, but one not uncommon in boxing.

Cleveland Williams died at the age of 66 broke and sick. He was killed when hit by a car while returning home from a dialysis treatment, marking a tragic ending to a tragic life.

Next time you are watching the Ali/Williams fight and in awe of how “great”  Ali looks in it, just take some time to think about what condition Cleveland Williams was in that night. Also consider the type of people who inhabit the world of professional boxing. These are people who would throw an invalid into the ring with a great fighter and then take him for all he’s worth. Instead of watching that fight and getting all excited about Ali’s performance, you should feel sick when you know what really happened that night.

Review: “Pacific Overtures” At The Lyric Stage, Boston

This 

 Pacific Overtures

Is Worthy Of A Shogun

 

Pacific Overtures 

Music and Lyrics by Stephen Sondheim

Book by John Weidman

Directed by Spiro Veloudos

Lyric Stage, Boston

Through June 16

Reviewed by Bobby Franklin

Carl Hsu, Micheline Wu, and cast Photo by Mark S. Howard

Pacific Overtures deals with the opening of Japan to the West and Commodore Perry’s excursion there in 1853. The Japanese had isolated themselves from the rest of the world  many years earlier. They had decreed that no foreigners would ever again be allowed to step on their soil. They saw outsiders as barbarians and savages, as people who would destroy their culture and exploit their products. It has a familiar ring to it: Gunboat Diplomacy, isolationism, xenophobia, expansionism, and a fear of change are subjects touched upon.

It was first produced in 1976 at a time when the Vietnam War was very fresh in people’s memories, so it would have been natural for people to have focused on American forays into other nations at that time. Given the state of the nation today, where trade wars and isolationism are popular, and a fear of those who are different is in ascendence on both the Left and the Right of the political spectrum, it is very possible audiences will see another message in this very fine work.

Alexander Holden, Karina Wen, Kai Chao, with Gary Ng.
Photo by Mark S. Howard

I last saw Pacific Overtures in 2003 in a lavish production that was incredible. From my count, the original consisted of a cast of 36. The Lyric is working with just 11, with actors taking on multiple roles. Of course, the theatre in Copley Square is also quite small, and the orchestra is much reduced. So how does taking such a huge production and reducing it in size work out? In a word, magnificently. 

Director Spiro Veloudos, working with Musical Director Jonathan Goldberg and four additional orchestra members take Sondheim’s score and work wonders with it. The music which plays off many Japanese styles includes Haiku, as well as nods to Gilbert and Sullivan, and a multinational flavor that, while showing how different nations can be, also captures the fact that all countries benefit when they cooperate with one another. Unfortunately, historically this cooperation has not always gone smoothly, and that is also brought out clearly here.

The set is simple yet gorgeous. Designed by Janie E. Howland, it has a backdrop made up of four Japanese screen panels with Hiroshige style illustrations on them. They are rotated very subtly during the play depicting different scenes as the story moves along . The floor gives the appearance of tatami mats, an item that will serve an important purpose in the negotiations between the Americans and the Japanese. Branches from a cherry blossom tree hang from above. I have read that Someone In A Tree is Stephen Sondheim’s favorite song from his own work, and seeing it performed by Brandon Milardo and Karina Wen under the branches is just lovely.

Lisa Yuen with Brandon Milardo, Jeff Song, Elaine Hom, Gary Ng .
Photo by Mark S. Howard

The cast is led by Lisa Yuen as the Reciter and Shogun. From the opening number The Adventures of Floating in the Middle of the Sea, Ms Yuen keeps the narrative flowing without forcing it. Her voice is clear and warm.

Carl Hsu and Sam Hamashima play Kayama and Manjiro. Kayama is a low ranking Samurai who ends up as the leading negotiator with the Americans, a job he was not exactly thrilled to be appointed to. Manjiro is a fisherman who had lived in the United States after being rescued by American sailors. He has returned to Japan to warn his leaders of the approaching Americans. He is not received well. Kayama and Manjiro form a bond when they find they can help each other through their problems.

Carl Hsu and Sam Hamashima.
Photo by Mark S. Howard

In Poems the two exchange multiple haiku. It is fast paced and through it we see their friendship grow. I loved how Hsu and Hamashima moved about the stage while performing this number. Choreographer Micheline Wu deserves much credit for the fine work she has done.

The entire cast, playing multiple roles, did not disappoint. Gary Thomas Ng  plays the Madam leading her Geisha Girls in Welcome to Kanagawa. With twirling umbrellas and flirtatious glances the number was fun and beautiful.

In Please Hello, representatives from the United States, France, Holland, Great Britain, and Russia all besiege Lord Abe (Jeff Song) with trade agreements. The play on Gilbert and Sullivan’s Modern Major General is delightful along with some French Can-Can, Dutch clog shoe dancing, and the frequent admonition from the Russian representative to “Don’t touch the coat!) 

Jeff Song, Gary Ng, Brandon Milardo, Kai Chao, Micheline Wu, Alexander Holden.
Photo by Mark S. Howard

Spiro Veloudos has chosen to have the actors wear masks when playing non Japanese parts. The masks are somewhat grotesque and reminiscent of the caricatures of foreigners that have been used over the years in many countries. These caricaturization represent how the Japanese saw outsiders. It is also interesting that many of the American parts were spoken with Southern accents. It is funny, but I notice that many directors in this area do that when trying to show Americans in a negative light. I wonder if directors in the South have their actors use Boston accents to get the same effect..

Pacific Overtures may very well have Sondheim’s best score. It is certainly the one that will continue playing in your head when you leave the theater. I loved every song and will be listening to the sound track often.

Karina Wen, Brandon Milardo, Lisa Yuen
Photo: Mark S. Howard

One of the beautiful things about theater is it can be fun at the same time it is dealing with serious and difficult subjects. We live in very polarizing times and have for many years. Too often when trying to make a point, a playwright can leave the audience feeling further divided. I found much in Pacific Overtures to give us reason to strive to understand each other and find ways to exchange the best we all have to offer. Tearing down walls and barriers to the free exchange of ideas and goods is a positive thing, though it is difficult to accomplish. I think of the words of Frederic Bastiat “If goods aren’t allowed to cross borders, armies will.” 

This is the final production of the Lyric’s 2018-2019 season, and they are finishing on a high note (pun intended). Pacific Overtures should top your list of plays to see. You are making a huge mistake if you miss this one. Spiro Veloudos works magic when he brings these large productions down in size for the intimate confines of the Lyric Stage Theater. After attending a number of these scaled down versions, I could argue this is a better way to see them. Well, it certainly is when produced by the Lyric Stage. 

Boston Lyric Stage

140 Clarendon Street

Copley Square, Boston, MA

617.585.5678

www.lyricstage.com

Review: “Jersey Boys” Ogunquit Playhouse

Jersey Boys

Stays Just A Little Bit Longer

At The Ogunquit Playhouse

Even Better The Second Time Around

Jersey Boys

Though June 15

The Ogunquit Playhouse

Ogunquit, Maine

207.646.5511

ogunquitplayhouse.org

Reviewed by Bobby Franklin

Photo Credit: Paul Charest

The Ogunquit Playhouse closed out their 2018 season with the hit jukebox musical Jersey Boys, which played to sold out audiences for eight weeks. Building off of that success, OPH Artistic Director Brad Kenney chose to hang on to what they got and begin the 87th season where they left off.

I very much enjoyed  Jersey Boys last August and gave it high praise. Settling in for this year’s return engagement, I planned on reliving that experience and looked forward to another great evening with the music and story of Frankie Valli and The Four Seasons. Well, it turns out I was in  for a surprise. The great production I saw last year has been ramped up and matured. A new lighting system, some tweaking of the script, and the actors reprising their roles with more depth has taken the 2019 version of Jersey Boys to another level. 

Photo Credit:Morgan Gavaletz LaMontagne

Matthew Amira, Andy Christopher, Matt Magnusson, and Jonathan Mousset playing Nick Massi, Bob Gaudio, Tommy DeVito, and Frankie Valli respectively dig down deeper into their characters. The story of the four boys from New Jersey who went on to record mega hits amid much drama in their relationship served as a solid narrative to support the great musical score. That narrative has now become a more integral part of the production as the personal aspects of their lives are brought out more powerfully. The result is a Jersey Boys that is nothing short of spectacular.

This enhancement of the story does not take away from the power of the musical numbers; in fact, it adds to them by stirring the emotions while leading into each song. Mr. Mousset’s amazing take on My Eyes Adored You coming off the scene where we see Frankie Valli’s marriage breaking up really tugs at the heart. 

Photo Credit: Morgan Gavaletz LaMontagne

While standing ovations are not unusual, especially at the Ogunquit Playhouse, it is rare to see audiences jump to their feet during a performance. Both Sherry and Walk Like A Man had the crowd out of their seats cheering the performers on. I could see just how much this touched the members of the cast. One of the wonderful things about attending live theatre is getting to experience that symbiotic energy occurs  between actors and the audience. In this case it was electrifying for both.

The boys went through a number of names for the group before settling on The Four Seasons and later, after a couple of them left, it became known as Frankie Valli and The Four Seasons. In Jersey Boys, each of the  four originals is given the recognition they deserve. 

Matt Magnusson plays Tommy DeVito, the bad boy who got the group going. A part time crook who had done time, he had that combination of daring and recklessness that it often takes to succeed in such a tough business. Mr. Magnusson captures his character with a Jersey accent and a mischievous twinkle in his eye. DeVito can drive you crazy but you can’t help but like him. He also serves as narrator for the first part of the play. 

Photo Credit: Paul Charest

In contrast to DeVito is Bob Gaudio who was introduced to the group by Joe Pesci (Tommy Martinez), yes, that Joe Pesci. Andy Christopher takes on the role of the man who not only wrote the songs that put the group on the map, but also was able to use his keen head for business and making deals to get them heard. Mr. Christopher plays the part of Gaudio with the perfect balance of calmness and drive that helped make the group so well known. 

Bass player Nick Massi describes himself as the Ringo of the quartet. Played by Matthew Amira, Massi is not left out. Mr. Amira gives a strong performance that is filled with humor and frustration. His description of rooming with Tommy DeVito is a riot. 

And that brings us to Jonathan Mousset who is reprising the role of Frankie Valli from last year. As I said earlier, there is a deeper layer of emotion in the 2019 Jersey Boys, and Mr. Mousset really plumbs the part and gives us a Valli torn between driving for success and living up to his “Old School Values”. Along with his amazing falsetto voice, he shows fine acting chops and brought more than a few tears to the eyes of those in the audience on the evening I attended. 

The entire cast is great, including Doug Storm who plays a number of roles including lyricist Bob Crewe. Storm comes close to stealing a few of the scenes with some well timed glances and asides. You might want to consult him about your horoscope. While Neal Benari as the gangster Gyp DeCarlo is the local Godfather type who helps the boys out of a few jams. The scene where he is brought to tears when he hears Frankie sing My Mother’s Eyes, is one of those touching comedic moments.

The new lighting system that has been installed at the playhouse is incredible. In the hands of lighting designer Richard Latta the effects are amazing. The use of spotlights and shadows is breathtaking. The scene recreating the evening the boys debuted on the Ed Sullivan Show is striking. Add in Choreography by Gerry McIntyre, Scenic Design by Adam Koch, and the work of Costume Designer Tristan Raines and this rivals anything you will see on Broadway. I also want to note that Ogunquit Playhouse productions are not touring companies, but are built from the ground up. 

Director Holly-Anne Palmer has been with Jersey Boys from its inception and she clearly has lost none of her enthusiasm for it. She has upped her game with this run. 

The music is still front and center with all of the hits plus more being performed powerfully, and the unique sound of the Four Seasons is captured perfectly. Dawn, Big Girls Don’t Cry, Let’s Hang On, Stay, December ’63, along with some  early 60s standards such as Short Shorts and Earth Angel. Caroline Iliff led Hillary Porter and Bailey Purvis in a smashing rendition of  My Boyfriend’s Back complete with big hair and bobby sox. Music to feed the nostalgic soul.

Jonathan Mousset’s rendition of Can’t Take My Eyes Off Of You is a classic show stopper. Seeing it performed after hearing the story of how it almost never got released is amazing. Hey, the entire show is amazing.

The 2019 Season at the Ogunquit Playhouse is off to a tremendous start. Tickets for last year’s performances of Jersey Boys sold fast. I would recommend you book your seats soon so you don’t miss out this year. If you’ve never seen Jersey Boys, don’t let this opportunity pass you by. If you have seen it, come back and be as surprised as I was at how a very good play can get even better . Oh! What a night it is!

Reagle Music Theatre Announces 2019 Season

Reagle Music Theatre of Greater Boston Announces 51st Summer Season

Of Classic Musical Theatre:

 Mame, The Sound of Music, and La Cage Aux Folles

Norton Award Winner Leigh Barrett To Open the Season as “Auntie Mame” June 13-23rd

 

Reagle Music Theatre of Greater Boston’s 51st consecutive summer season will take audiences on a fabulous journey around the world and across the 20th Century with three classic musicals:

Mame, from June 13-23, will star IRNE and Norton Award winner Leigh Barrett as “Auntie Mame,” an irrepressible 1920’s socialite whose New York life is changed forever when her orphaned nephew comes to live with her. The Sound of Music, from July 11-21, relates the beloved tale of a young postulate in pre-WWII Austria who is sent to work as a governess and brings joy and music into the family’s home. Finally, the musical comedy La Cage Aux Folles, August 8-18, will travel to the 1980’s French Riviera for the hilarious tale of love and family set above a glitzy drag nightclub.

 

Mame

Directed and Choreographed by Eileen Grace

Music Director Dan Rodriguez

Produced by Robert J. Eagle

June 13-23, 2019, 8 performances including 4 matinees

Mame’s chic New York City life is changed when her orphaned nephew comes to live with her. Surrounded by a cast of eccentric characters, she celebrates the roaring 20s, overcomes tragedy, and sails through life without missing a fad or a dance step. Featuring Jerry Herman songs like “If He Walked Into My Life,” “It’s Today,” “We Need A Little Christmas,” and “Bosom Buddies,” this beloved musical is sure to warm any heart.  Book by Jerome Lawrence and Robert E. Lee.  Music and Lyrics by Jerry Herman.

 

·     The Sound of Music

Directed and Choreographed by Daniel Forest Sullivan

Music Director Dan Rodriguez

Produced by Robert J. Eagle

July 11-21, 2019, 8 performances including 4 matinees

In 1930s Austria, Maria is struggling in her attempt to become a nun. When she is sent to look after the children of a stern, widowed Navy captain, she brings joy and music back into the family’s home. This beloved, Tony and Oscar-winning musical features Rodgers & Hammerstein songs like “My Favorite Things,” “Climb Ev’ry Mountain,” “Edelweiss,” and “Do-Re-Mi.  Music by Richard Rodgers. Lyrics by Oscar Hammerstein II. Book by Howard Lindsay and Russel Crouse. Suggested by The Trapp Family Singers by Maria Augusta Trapp. Presented through special arrangement with R&H Theatricals.

La Cage Aux Folles

Directed and Choreographed by Susan M. Chebookjian

Music Director Dan Rodriguez

Produced by Robert J. Eagle

August 3-13, 2019, 8 performances including 4 matinees

Georges and Albin enjoy a charmed life on the French Riviera as proprietor and star of a glitzy drag club. When their son gets engaged to the daughter of a bigoted politician, the limits of love, family, and mascara are put to the test in this hilarious, heartwarming musical.  This new production of the groundbreaking musical comedy features a score by Tony and Grammy winner Jerry Herman (including songs like “I Am What I Am,” “The Best of Times,” and “Song on the Sand”) and a book by four-time Tony Award winner Harvey Fierstein. Music and Lyrics by Jerry Herman. Book by Harvey Fierstein. Based the play “La Cage Aux Folles” by Jean Poiret. Presented through special arrangement with Samuel French, Inc.

All family-friendly shows will run for 8 performances over 2 weekends; Fri & Sat at 7:00 pm, Thurs & Sun matinees at 2:00 pm. Tickets for Reagle’s 51st summer season can be purchased at www.reaglemusictheatre.org, by calling the box office at 781-891-5600, or at the theater box office.

 

 

The View Upstairs Opens At Speakeasy Stage Company

                                              

Speakeasy Stage Company Presents 

THE VIEW UPSTAIRS

 From May 31 through June 22, 2019, SpeakEasy Stage Company will proudly present the New England Premiere production of the acclaimed Off-Broadway musical THE VIEW UPSTAIRS.  

     THE VIEW UPSTAIRS was inspired by a historical event, the firebombing of the UpStairs Lounge in New Orleans in 1973, which, up until the Pulse Nightclub shooting in 2016, was the deadliest assault on a gay bar in US history. THE VIEW UPSTAIRS tells the story of Wes, a young fashion designer who buys an abandoned building in the French Quarter of New Orleans.   One night, while exploring his new purchase, Wes is transported to the UpStairs Lounge, a vibrant seventies gay bar, where he begins an exhilarating journey of self exploration that spans two generations of gay history.  Featuring a gritty, glam rock score and a tight-knit ensemble of unforgettable characters, THE VIEW UPSTAIRS asks what has been gained and lost in the fight for equality, and how the past can inform the future.  

     Described by The New Yorker as “equal parts Bohemia and Broadway,” Max Vernon has emerged as a singular and eccentric voice in the world of musical theatre. He received the Lucille Lortel Award for Best Musical, three Drama-Desk Nominations, a Jonathan Larson Grant, and the Richard Rodgers Award for his musicals The View UpStairs and KPOP, both of which had critically-acclaimed extended Off-Broadway runs. Notable concert performances include the Kennedy Center, Lincoln Center, Joe’s Pub, and The Metropolitan Museum of Art.

     SpeakEasy Founder and Producing Artistic Director Paul Daigneault will direct the Boston Premiere of THE VIEW UPSTAIRS. Winner of three Elliot Norton Awards including the 2014 Norton Prize for Sustained Excellence, Mr. Daigneault had directed dozens of Boston premieres, including the company’s recent productions of The Scottsboro Boys, The Curious Incident of the Dog in the Night-Time, Allegiance, and Fun Home. 

      Adam Bokunewicz will music direct and Alessandra Valea will choreograph.

      Johanna Carlisle-Zepeda, Russell Garrett, J’royce Jata, Michael Levesque, Will McGarrahan, Davron Monroe, Yewande Odetoyinbo, Eddie Shields, Jared Troilo, and Shawn Verrier make up the cast. 

     The design team is Abby Shenker (scenic); Dustin Todd Rennells (costumes); Abigail Wang (lighting); and Elektra Newman (sound).   Lauren Burke is the Production Stage Manager.  

THE VIEW UPSTAIRS will run for four weeks, from May 31 through June 22, 2019, in the Plaza Theatre at the Boston Center for the Arts, 537 Tremont Street in Boston’s South End.

For tickets or more information, the public is invited to call the box office at 617.933.8600 or visit www.SpeakEasyStage.com .            

 

 

“Oklahoma!” Opens At North Shore Music Theatre June 4

NORTH SHORE MUSIC THEATRE

KICKS OFF THE 2019 MUSICAL SEASON WITH

RODGERS AND HAMMERSTEIN’S

‘OKLAHOMA!’

THE GREAT AMERICAN MUSICAL

June 4 – June 16, 2019

 

Blake Price

Bill Hanney’s award-winning North Shore Music Theatre kicks off the 64th Annual Season with Rodgers and Hammerstein’s OKLAHOMA!, one of the greatest classic musicals of all time, playing for two-weeks only from Tuesday, June 4 thru Sunday, June 16, 2019. OKLAHOMA! is sponsored by Beverly Bank.

 

“The 2019 Season marks the tenth season since reopening this historic theatre in 2010. I am still just as excited about creating this season as I was for season one.” said Bill Hanney, NSMT owner and producer. “When planning the 2019 Season, I was surprised to discover that Oklahoma! had not been seen on the North Shore Music Theatre stage in more than twenty-five years. Seventy-five years ago, Rodgers and Hammerstein reinvented musical theatre with Oklahoma!, a musical that is a celebration of both the pioneering spirit of settlers building new lives on the frontier and the patriotism surrounding the territory’s impending statehood. It feels like the perfect time to create an all new production of this classic for our signature in-the-round stage.”

 

When Rodgers and Hammerstein’s masterpiece OKLAHOMA! made its Broadway debut in 1943, it launched a new era in American musical theater — fusing story, song and dance through the stunning choreography of Agnes de Mille. It also began one of the most successful songwriting partnerships in Broadway history. At its heart, Rodgers and Hammerstein’s OKLAHOMA! is a love story between confident cowboy Curly and feisty farmer Laurey. As the road to romance and the road to statehood converge, Curly and Laurey are poised to carve out a life together in a brand-new state. But the road to love is as bumpy and fraught with all the dangers and excitement of the time. The unforgettable score includes: “Oh, What a Beautiful Mornin’,” “People Will Say We’re in Love,” “I Cain’t Say No!” and the exhilarating title song, “Oklahoma!

 

The cast of OKLAHOMA! will be led by Blake Price (Curly McLaine), and Madison Claire Parks (Laurey Williams), along with Sean Bell (Will Parker), Melissa Carlile-Price (Ado Annie Carnes), Sue Cella (Aunt Eller Murphy), Tom Gleadow (Andrew Carnes), Cooper Grodin (Ali Hakim), and Alex Levin (Jud Fry).

 The cast of 24 will also include Bella Calafiura, Mary Callanan, Stephen Diaz, Dale Elston, Marjorie Failoni, Katie Griffith, Ricky Lee Loftus, Trevor McChristian, Kevin B. McGlynn, Alaina Mills, Rachel Perlman, Michael Pesko, Laura Sky, Cameron Turner, Scott Whipple, and Jessica White.

Performances are June 4 thru June 16, Tue – Thurs at 7:30 pm, Fri & Sat at 8 pm, matinees Wed, Sat and Sun at 2 pm. For tickets and information call (978) 232-7200, visit nsmt.org, or visit the box office at 62 Dunham Rd., Beverly, MA.

 

 

“42nd Street” To Run At The Ogunquit Playhouse From June 19 through July 13

Tap Dancing Extravaganza, 42nd Street to Open at the Ogunquit Playhouse

Come and meet those dancing feet! The ultimate tap-dancing, show-biz musical sensation, 42nd Street celebrates Broadway, Times Square, and the people who make magical musical theatre hits the Ogunquit Playhouse stage June 19 through July 13. The Ogunquit production is staged by Tony Award-nominee Randy Skinner, the creator of the Broadway revival and recent West End production of 42nd Street. The tap-dancing extravaganza stars Broadway’s Rachel York as Dorothy Brock, Steve Blanchardas Julian Marsh, Jessica Wockenfussas Peggy Sawyer, Con O’Shea-Crealas Billy Lawlor, and features Emmy-Award-Winner Sally Struthers as Maggie Jones. The Ogunquit production of 42nd Street also features the Lawrence Olivier-nominated and Tony-nominated costumes by Roger Kirkalong with Douglas Schmidt’sTony-nominated sets.

Rachel York

The delightful and dazzling show tells the story of aspiring chorus girl Peggy Sawyer who leaves her small town for the big city and soon lands her first job in the ensemble of a glitzy new Broadway show. Mayhem and mirth ensue when just before opening night the leading lady breaks her ankle. Will Peggy be able to step in and become a star? The musical 42nd Street isbased on the novel by Bradford Ropes withbook byMichael Stewart and Mark Bramble. The score by Harry Warren(music) and Al Dubin (lyrics), is chock-full of Broadway standards, including “You’re Getting to Be a Habit with Me,” “Dames,” “We’re In the Money,” “Lullaby of Broadway,” “Shuffle off to Buffalo” and “Forty-Second Street.”

Rachel York returns to the Ogunquit Playhouse as Dorothy Brock, the quintessential Broadway diva. Ms. York last dazzled Playhouse audiences as the Lady of the Lake in Monty Python’s Spamalot. She was most recently seen on Broadway in the musical Head Over Heels, and is best known for her critically acclaimed Broadway performances in City of Angels, Les Misérables, Victor/Victoria (Drama Desk Award) with Dame Julie Andrews, and for her portrayal of Lucille Ball in the CBS TV movie, Lucy. Ms. York has stunned audiences of the stage, screen, and concert halls across the country through her numerous National Tours, regional theatre appearances, concert performances, and TV guest-starring roles.

Sally Struthers

Two-time Emmy Award and Golden Globe Award winner Sally Struthers joins the cast as Maggie Jones. Ms. Struthers is best known for her role as Gloria in the groundbreaking TV series, All in the Family as well as reprising that role in the series spin-off, Gloria. She also appeared on Fox television series 9 to 5, and in recurring roles on the CBS’s Still Standing and the CW network’s Gilmore Girls. Sally Struthers has performed many roles at Ogunquit Playhouse including Punky Olander in Grumpy Old Men the Musical, Evangeline Harcourtin Anything Goes, Duchess Estonia Dalworth in Nice Work If You Can Get It, Mama Morton in Chicago, and Paulette in Legally Blonde.

Broadway veteran, Steve Blanchardstars as the notorious Broadway director Julian Marsh. He is probably best known for his portrayal of Beast in Disney’s Beauty and the Beast in both the Broadway production and First National Tour. Other credits includeFred in A Christmas Carol, Lancelot in Camelot with Robert Goulet, Pulitzer in Disney’s Newsies, and Pa in Little House on the Prairie. Joining the cast as the starry-eyed chorus girl, Peggy Sawyer is Jessica Wockenfuss who also performed the role in the North Shore Music Theatre’s 2017 production. Off-Broadway, she has been seen in Hey, Look Me Over!, and Me and My Gal. Her National Tour credits include Jersey Boys, Irving Berlin’s White Christmas, The Little Mermaid, and Monty Python’s Spamalot. ConO’Shea-Creal will make his Ogunquit Playhouse debut as Billy Lawlor. His Broadway credits include Irving Berlin’s White Christmas and Side Show, and he has performed in many National Tours including Cameron Mackintosh’s Mary Poppins as Bert, Irving Berlin’s White Christmas with Randy Skinner, and Something Rotten.

The Ogunquit Playhouse production of 42nd Street includes one of the largest casts to ever hit the theatre’s stage. It featuresRyan K. Bailer as Pat Denning, Cliff Bemis as Abner Dillon, Megan McLaughlin as Annie, Kilty Reidy as Bert Barry, and JakeWeinsteinas Andy Lee. The ensemble includes Danielle Aliotta, Emily Applebaum, Willie Beaton II, Allison Blanchard, Quinten Patrick Busey, Brittany Cattaruzza, Alex Drost, Liz Friedmann, Patrick Heffernan, Alex John Johnson, Tommy Joscelyn, Trent Kidd, Ryan Koerber, Brianna Latrash, Lily Lewis, Elizabeth McGuire, Andrew Muylle, Melissa Schott, andKristen Welsh.

For ticket information visit www.ogunquitplayhouse.org or call the Ogunquit Playhouse Box Office at 207-646-5511

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“Fun Home” Is Back At The SpeakEasy Stage

FUN HOME RETURNS 

SpeakEasy Stage Remounts Its Acclaimed Production of

 the Tony Award-Winning Musical 

Due to popular demand, SpeakEasy Stage will proudly remount its acclaimed production of the Tony Award-winning musical FUN HOME for four weeks, June 8-30, 2019. 

     Featuring music by Tony Award-winner Jeanine Tesori and a book and lyrics by Tony Award-winner Lisa Kron, FUN HOME is a landmark musical about seeing one’s parents through grown-up eyes. Based on Ms. Bechdel’s best-selling memoir of the same name, this groundbreaking show introduces us to Alison at three different ages, revealing memories that celebrate the curiosity of childhood, the challenges of coming out, and the complexities of family.

     SpeakEasy Founder and Producing Artistic Director Paul Daigneault is again at the helm of this acclaimed production. Winner of three Elliot Norton Awards including the 2014 Norton Prize for Sustained Excellence, Mr. Daigneault had directed dozens of Boston premieres, including the company’s recent productions of The View UpStairs, The Scottsboro Boys, The Curious Incident of the Dog in the Night-Time, and Allegiance. 

     Also returning to help with the remount are IRNE Award-winning Music Director Matthew Stern and Choreographer Sarah Crane.   Paul S. Katz joins to conduct the band for these added weeks.  

     Amy Jo Jackson (Alison), Ellie van Amerongen (Medium Alison) and Marissa Simeqi (Small Alison) again play Ms. Bechdel at three different ages.  Also returning are Laura Marie Duncan, Luke Gold, Desiré Graham, Cameron Levesque, and Todd Yard.  Christopher M. Ramirez joins the cast as Roy.  

     The design team for both the original production and remount are Cristina Todesco (scenic); Charles Schoonmaker (costumes); Karen Perlow (lighting); Andrew Duncan Will (sound); and Jennifer Butler (props).     

     Rachel Sturm is the Production Stage Manager. John Meredith is the Assistant Stage Manager.  

     FUN HOME will return for four weeks, from June 8-30, 2019, in the Roberts Studio Theatre in the Calderwood Pavilion at the Boston Center for the Arts, 527 Tremont Street in Boston’s South End.

  For tickets or more information, the public is invited to call the box office at 617.933.8600 or visit www.SpeakEasyStage.com .                 

Review: “Mame” At The Reagle Music Theatre Of Greater Boston

Mame At The Reagle Music Theatre Of Greater Boston

Is A Satisfying Banquet

Don’t Miss Out

 

Reviewed By Bobby Franklin

Through June 23 At The Reagle Music Theatre Of Greater Boston

617 Lexington Street

Waltham, MA

781.891.5600

www.reaglemusictheatre.org 

Reviewed by Bobby Franklin

Ensemble With Leigh Barrett
Photo: Reagle Music Theatre/Herb Philpott

One of my favorite lines from Mame is “Life is a banquet and most poor sons of bitches are starving”. The production of Mame now playing at the Reagle Music Theatre of Greater Boston in Waltham is a delicious feast of this classic Broadway musical. It will nourish your theatrical soul.

Led by uber talented Leigh Barrett as Patrick Dennis’s Auntie Mame, the entire cast is solid and tight. Ms Barrett who thrilled audiences in last year’s Lyric Stage production of Gypsy has met, or I would argue, even exceeded that performance here. Leigh Barrett delivers what is best described in the words of the great theatre critic Kenneth Tynan, “a high definition performance”. She is stage presence personified. 

This is the story of the “live life to the fullest” Mame who has taken on the care of her nephew Patrick Dennis. Mame faces many obstacles in watching over young Patrick, including threats to have him taken away from her for her unconventional lifestyle, as well as financial ruin (the play is set in the 1920s and 30s when the stock market crash destroyed many people’s finances), but you can’t keep her down.

While Ms Barrett’s performance is something to behold, she is not on the Reagle’s stage by herself. In fact, she is accompanied by 38 other highly talented actors who light up the theatre along with a full orchestra, a rarity today and such a pleasure, led by Dan Rodriguez. Upon entering the theatre I could hear the musicians tuning up. This lends an air of anticipation and excitement to the evening. 

Ben Choi-Harris and Leigh Barrett
Photo: Reagle Music Theatre/Herb Philpott

Regarding the other performers; well, there are too many to mention by name and any omissions are in no way a slight against any of them. Eleven year old Ben Choi-Harris who pays young Patrick Dennis is a rising star who more than held his own playing opposite Leigh Barrett in the first act. I had to check to make sure this wasn’t a fifty year old veteran actor heavily disguised to look like a boy, as Ben looks as if he has been on the stage for years. The duet between Mame and young Patrick on My Best Girl is just beautiful. Their warmth and love are fully conveyed to the audience. Mame’s nephew also makes a fine martini.

Katie O’Reilly takes on the role of the homely and lovable Agnes Gooch, who learns to open up and let go; well, a bit too much. In Gooch’s Song, Ms O’Reilly shows incredible comedic timing while keeping her character real and sympathetic. 

Mark Linehan, seen last year at the Reagle as Professor Harold Hill in The Music Man, plays Beau, the Southern Gentleman who falls for Mame and takes her hand in marriage bringing her love and wealth. He also ends up taking another fall, literally, while traveling with his new bride. Mr. Linehan has appeared on the Reagle’s stage eight times and once you see him you will understand why they keep bringing him back.

Mame’s house servant Ito is played by Simon Rogers. Mr. Rogers brings a depth to this loyal character while not sinking into caricature. The laughs are never at him, but with him. He, along with Vera, Mame, Patrick, and Miss Gooch are all family.

Maureen Keiller and Ensemble
Photo: Reagle Music Theatre/Herb Philpott

Speaking of Vera Charles, this has to be a dream role for many actors, and Maureen Keiller is having her dream come true. Ms Keiller is hysterical as the “world’s greatest lush” and dear but difficult friend of Mame’s. In fact, they are Bosom Buddies which they sing together in one of the many well known songs from the play. Ms Keiller also gives a hilarious performance on the number The Man In The Moon Is Lady. 

At the beginning of Act II the role of young Patrick transitions to the older Patrick played by Will Burke. The reprise of the song My Best Girl is begun by young Patrick and moves smoothly to older Patrick. It’s a touching moment.

Mame is directed and choreographed by Eileen Grace and the stage is filled with music and dance. The large cast is always in synch, and if you love dancing you will not be disappointed. It is a treat to see and hear them work the boards.

If He Walked Into My Life Today is one of the better known songs from Mame, but it is often not heard in context and is usually thought of as a romantic song about lost love. Seeing it sung here by Ms Barrett you fully grasp the feelings of doubt and regret Mame has over whether or not she has made the right choices in how she raised Patrick. Every parent feels this way at one time or another. 

Maureen Keiller and Leigh Photo: BarrettReagle Music Theatre/Herb Philpott

The title song, which closes the first act, is a lavish musical number that fully allows the audience to see what a classic Broadway Musical looks like. The stage is filled with dancers and singers all moving about effortlessly while performing their hearts out. As I was exiting the theatre I could hear people singing and humming the tunes. That’s a nice feeling.

Artistic Director Robert J. Eagle founded the Reagle Musical Theatre of Greater Boston fifty-one years ago and it is a gift to have his creation still going strong after all that time. I suspect it easily has another fifty ahead of it. If you haven’t yet been there, well, what are you waiting for? If you have, I’m sure you won’t want to miss the current production. Mame is playing through June 23 and the theater is easy to find and has plenty of parking. 

As the Mame household reminds us, there are times We Need A Little Christmas, and I couldn’t think of a better Christmas present with which to begin your summer.

Ogunquit Playhouse Reaches Major Milestone – Jersey Boys is the First Show in its 87 Year History to Celebrate 100 Performances on the Legendary Stage!

For the first time in Ogunquit Playhouse history a show hit the 100 performance milestone! Congratulations to Jonathan Mousset (Frankie Valli), Matt Magnusson (Tommy DeVito), Andy Christopher (Bob Gaudio), and Matthew Amira (Nick Massi) and the entire Ogunquit cast, creative team, and crew for reaching this exciting moment! Jersey Boys opened in the fall of 2018, and ran for an unprecedented 8 weeks to close the season (for decades the Playhouse season was only 10 weeks long!) –Jersey Boys returned to open the 2019 season for another 5 weeks!  Over the last decade the legendary theatre has grown from a traditional summer stock theatre to a true regional theatre that operates over twenty-six weeks each year. 

 

Review: 42nd Street At The Ogunquit Playhouse

A Broadway Lullaby That

Will Keep You Awake 

In Ogunquit

42nd Street

Through July 13

The Ogunquit Playhouse

Ogunquit, Maine

Directed and Choreographed by Randy Skinner

Reviewed by Bobby Franklin

Photo Credit: Gary Ng

At the height of the Great Depression Hollywood produced many feel good musicals that were a source of escape for people struggling through very difficult times. One of the most popular of these was the Busby Berkeley film 42nd Street that starred Dick Powell and Ruby Keeler, with music by Harry Warren and Al Dubin. In 1980 Gower Champion and David Merrick brought a stage version of it to Broadway. The play was a huge hit and has been revived repeatedly since then, most recently in London’s West End where it was directed by Mark Bramble with choreography by Randy Skinner.  

The latest revival has just opened at the Ogunquit Playhouse with original sets from the London production. Randy Skinner is directing and choreographing this production. Unfortunately, Mark Bramble passed away earlier this year. 

The backstage musical about aspiring hoofer Peggy Sawyer having to step in when leading lady Dorothy Brock breaks her ankle during rehearsals for the play Pretty Lady is the standard “the show must go on” theme that was popular in the 1930s. What is so special about this piece is it has many great, if corny, lines, some of the greatest songs ever written for a musical, and stunning dance numbers. 

This is one of the largest casts ever assembled on the Ogunquit Playhouse stage, and the sound of all those tapping feet is intoxicating.

It really is all about the dance, and who better to make that happen than Randy Skinner who worked on the original Broadway production in 1980. The dance numbers here are simply exquisite. This is one of the largest casts ever assembled on the Ogunquit Playhouse stage, and the sound of all those tapping feet is intoxicating. 

Jessica Wockenfuss as Peggy Sawyer, the starry eyed kid from Allentown, PA who’s golly gee demeanor belies her drive to make it in the city that never sleeps is outstanding. She puts it all together with her lovely singing voice, delivery, and amazing dancing feet. She is a Peggy Sawyer to remember. 

Steve Blanchard is Julian Marsh, the hard driving director who gives more pep talks than the manager of a baseball team playing in the World Series. He delivers his lines in rapid fire without missing a beat; “You’re going out there a youngster, but coming back a star”. His performance  of  Lullaby of Broadway is marvelous. You can just taste the theatre district of old New York as you listen to him sing the lyrics.

In Shadow Dance, Rachel York as the snooty and aging star Dorothy Brock, dances in front of a large curtain on which her shadow is double cast. Ms York and Ms Wockenfuss perform a lovely duet on the classic About a Quarter To Nine. It is one of those great Broadway tunes and gets a bit of a modern arrangement here. 

Tenor Billy Lawlor is played by Con O’Shea-Creal. He and Ms York perform another favorite in You’re Getting To Be A Habit With Me. Mr. Con-Creal gives a convincing  happy-go-lucky Lawlor filled with enthusiasm.

Sally Struthers is Maggie Jones and, as always, brings her wonderful comedic timing to the Playhouse stage. Along with Cliff Bemis as Abner Dillon, Dorthy Brock’s sugar daddy, and Ryan K. Bailer as her not so secret paramour, there is a stage full of talent performing here.

While the story is fun and fast moving, if predictable, 42nd Street is all about the singing and dancing. The numbers are spectacular. We’re In The Money is performed with giant dimes being rolled on stage (They are Mercury heads in keeping with the time frame). Shuffle Off To Buffalo with Kilty Reidy as Bert and Megan McLaughlin as Lorraine, a couple heading off on their honeymoon, is sweet and fun. 

Photo Credit: Gary Ng

The best is saved for last when the stage is filled with dancers on rows of lit stairs tapping away to the title song. Signs with the names of theaters, shows, and performers hang above them while they sing and dance. It is an outstanding number that brought the audience to their feet. It has been said there is a broken heart for every light on Broadway, but these lights bring happiness. 

Last month I got to experience the new lighting that was installed at the Playhouse when I saw Jersey Boys. It is an investment that is paying great dividends. Of course, it takes more than lighting to make for great theatre, and those ingredients are in abundance at the Ogunquit Playhouse. Artistic Director Brad Kenney proves over and over again he knows how to choose great plays, find the best talent, and bring in the finest creative teams available. It is all on display in 42nd Street. 

If you love a fast paced, toe tapping, Broadway musical filled with some of the best songs ever written, you will find it playing now in Ogunquit, Maine. I loved it and can’t imagine anyone wouldn’t.

For information:

ogunquitplayhouse.org 

207.646.5511

Book Review: “The Tragedy of the Hogue Twins”

 

TRAGIC TWINS

“[When the Hogue twins were 31 years old,] they were still young men, but life had taken its toll on them. Shorty was living in a variety of care facilities, and Big Boy, who spent several years in and out of Atascadero Mental Hospital,  appeared to have no discernible skills outside of the ring other than cheating at cards.” 

 The Tragedy of the Hogue Twins

By Harry Otty

256 pages

Read Corner Publishing 

Reviewed by Roger Zotti

 

One

 Willard Joseph “Big Boy” Hogue and Willis Burton “Shorty” Hogue  are their names, and boxing historian Harry Otty has written a meticulously researched, eminently readable, and informative book about them. Enhanced by many photos of the twins, family members, friends, and opponents, it’s titled The Tragedy of the Hogue Twins (REaD Corner). 

Harry’s intention is that readers take from his book the realization that  “boxing, for all its hype and glamour, is a brutal sport and some of those who fight to entertain the fans don’t make as much money as the Floyd Mayweathers of this world. Most fighters come away with little in the way of tangible rewards and some come out with a lot less than what they went in with— as was the case with Shorty and Big Boy Hogue.”

At first Otty, the author of the acclaimed Charley Burley and the Black Murderers’ Row, had no idea who the Hogues were, but after extensive research, he says, “I ended up in touch with family members, and then [learned more] about [the twins], and thought theirs was a tale worth telling. [The Hogues] are not well-known outside of the hardcore boxing fraternity, and I thought that was a shame. I think Shorty Hogue belongs in the West Coast Hall of Fame – he beat some great fighters and, perhaps if handled better, could have gone a great deal further than he did.”

Obtaining first-hand information from the Hogue family was challenging for Harry: “With the Charley Burley book I wanted people to know a little more about him outside of boxing, so I relied on friends and family for stories and insights . . . Getting the same insight on the twins’ lives as I got with Charley Burley was  difficult, as there were no siblings left to talk about them. There were a couple of nephews, a grandson and a daughter, but the daughter was not willing to communicate. The snippets of information I did get from the family often led to other avenues to explore. It was a slow process.”

Two

Hailing from Jacumba, California, “Big Boy” was a welterweight, Shorty a middleweight. They had outstanding amateur boxing careers and turned professional on March 3, 1939. In their debuts at the San Diego Coliseum, Shorty stopped Al Jimenez in the third round and Big Boy garnered a six-round decision over George Romero.

Big Boy’s first name opponent was veteran Bobby Pacho, who had fought Henry Armstrong, Eddie Booker, Turkey Thompson, Fred Apostoli, and Fritzie Zivic, among others. In their June 22, 1939, bout, Big Boy earned a ten-round decision. 

Shorty’s former sparring partner, a rising middleweight named Archie Moore—yes, the Archie Moore—was his first opponent of merit. They battled on December 29, 1939, at the San Francisco Coliseum. Moore’s 38-3-3 record didn’t faze Shorty, who won a six-round decision over the future light heavyweight champion.

Their rematch took place in 1941, at the San Diego Coliseum, before 4,000 fans. Harry brings the fight to life with his vivid description of the tenth and final round: “The tenth started with Archie staggering Shorty once more, but the determined twin came back yet again to swamp Moore with a constant cascade of leather. The aggression, determination and sheer volume of punches was enough for referee Benny Whitman to cast his vote in favor of Shorty.”

When the decision was announced, Harry writes, “The reaction would have been the same had the call gone the other way. Afterward promoter Benny Ford called the fight the greatest he had ever seen in a San Diego ring.” 

Their third bout took place in 1942, again at the San Diego Coliseum, and Archie had his revenge, stopping Shorty in two rounds.

Shorty, who fought from 1939 to 1943, compiled a 52-11-2 record. Big Boy battled from 1939 to 1943, was inactive from 1944 to 1951, and returned to the wars in 1952, retiring after two TKO losses. His record was  50-19-7.

During their boxing careers the twins didn’t duck anyone.  Big Boy fought the likes of Aaron Wade, Eddie Booker, Jack Chase, and Charley Burley, all members of the feared Black Murderers’ Row, while Shorty battled Booker (four times), Lloyd Marshall (two times), and Burley.  

How good was the Row? Many champions and contenders ducked them, including Sugar Ray Robinson, whom Burley said he’d fight for nothing,  the great Henry Armstrong, Freddie Cochrane, and Rocky Graziano. 

In his book Murderers’ Row, boxing historian Springs Toledo quoted what former middleweight champion Jake LaMotta said about the Row: “When those bombers got the chance against a white kid on the square, they sure tried their best to show what they could do, because they all had a dream that maybe they’d get enough of an audience clamoring for them so that someday some promoter would give them the chance they deserved and they’d get a shot at the real money.”

And how good were the Hogues? Harry quotes Archie Moore who praised them as “’two of the greatest prospects in my time. They had everything needed to be world champions. Well, maybe one thing was missing—patience.’” 

Three

Brace yourself for the book’s last chapters, which chronicle the twins’ horrific downward spiral. Shorty never recovered from his TKO loss, in early 1942, to the mighty Burley. He fought eight more times that year, winning only twice. His six losses were by KO. 

 After his last fight that year he joined the Navy, but his military career was short-lived. His behavior was unstable and “diagnosed by the Naval medical staff [as] ‘traumatic encephalopathy.’” . . . “Come April 9, 1943, Shorty Hogue . . . was now also ex-naval reserve . . . mentally unfit for military service, physically no longer able to continue in his chosen profession, and with no discernible skills, [he] was consigned to the scrap heap at 22.” Shorty  died in his sleep, at Sleepy Valley Rest Home, on November 29, 1971. He was 50 years old.

Big Boy didn’t fare any better. In his final fifteen outings, he was stopped ten times. After retiring in 1952, he lived a trouble-filled life. 

Jumping ahead to 1964 and Big Boy’s arrest: The police decided to hold [him] until he had ‘sobered up,’ Otty writes, “but he never did. Just before midnight, an officer went in to check on the prisoner. He found Big Boy hanging in his cell. He had used his own belt to end his life. He was only 43.  

“It appears that the symptoms of ‘punch drunk syndrome’”—dementia pugilistica—”[had affected] Big Boy as much as Shorty; the difference was that Shorty had received an official diagnosis,” Otty writes, adding that “[reporter Nelson Fisher] in one paragraph summed up [the Hogue twins’] lives and careers almost perfectly: ‘If their boxing careers were crowned by success and popularity, their lives after they put away the gloves were as contrastingly unfortunate, eventually tragic.’”

Four

Over the years many boxing writers and scholars have inspired Harry: “Like most boxing historians. I have read a great deal of books, essays, newspaper reports, and I would say I was most likely influenced by all of them in one way or another.” 

Boxing historians Kevin Smith and Jerry Fitch rank high as authors who persuaded Harry he “could/should do it” himself. Says Harry: “I read a good deal of Jerry’s essays in the 1980s and 90s and really liked his stuff on the Cleveland greats (Jimmy Bivins, Lloyd Marshall, Joey Maxim, etc.) and Kevin Smith’s work on the great black fighters opened my eyes to just how deep and wide the history of the sport was. Boxing historian and author John Ochs was a fantastic help once I had the book compiled and (almost) ready to publish.”

Harry commends “the many members of the IBRO who have written fantastic histories and biographies on some of the greats from our sport (and some of the not so well-known, too). I think that is what makes the organization so good – the breadth and depth of knowledge is amazing, and more people should join up!”

A contributing writer for the IBRO Journal, Roger Zotti has written two books on boxing, Friday Night World and The Proper Pugilist. He can be reached at rogerzotti [at] aol [dot] com. You’ll make him happy by emailing him and saying nice things about his writing.”

“Disney’s Freaky Friday” Opens At North Shore Music Theatre July 9

NORTH SHORE MUSIC THEATRE PRESENTS

‘DISNEY’S FREAKY FRIDAY!’

A NEW MIXED-UP/SWITCHED-UP FAMILY MUSICAL

July 9 – July 21, 2019

Bill Hanney’s award-winning North Shore Music Theatre (NSMT) continues the 2019 Musical Season with Disney’s FREAKY FRIDAY, a brand-new mother/daughter body swap musical playing for two-weeks only from Tuesday, July 9 thru Sunday, July 21, 2019.

“Last year, the executives from Disney invited me to attend a special screening of their new television adaptation of the recently developed stage version of the Freaky Friday story. Before the lights came up, I knew I wanted to put this brilliantly written show on the stage for North Shore Music Theatre audiences,” said Bill Hanney, NSMT owner and producer. “I am committed to developing a younger theatre audience and with this endearing family show we will have both the younger and older audiences entertained by this universally relatable story about learning to see life from another person’s perspective.”

Disney’s FREAKY FRIDAY is the new madcap body swap musical about an overworked mother and teenage daughter who magically spend a day in each other’s shoes. Katherine and Ellie face a variety of challenges trying to get through the day as each other and ultimately learn a lot about what life is really like on the other side of the generation gap. A beloved classic story, Disney’s FREAKY FRIDAY has been given a contemporary fairy tale spin with a hilarious new book by Bridget Carpenter (Friday Night Lights, Parenthood) and a pop/rock score by Tony Award and Pulitzer Prize-winners Tom Kitt and Brian Yorkey (Next to Normal, If/Then).

The cast of Disney’s FREAKY FRIDAY will be led by Laurie Wells (Katherine) and Lindsay Joan (Ellie), along with Lindsey Alley (Torrey), Gerald Caesar (Adam), Annabelle Fox (Savannah), and Sean Hayden (Mike), with Jake Ryan Flynn and AJ Scott sharing the role of Fletcher.

 Performances are July 9 – July 21, Tue – Thurs at 7:30 pm, Fri & Sat at 8 pm, matinees Wed, Sat and Sun at 2 pm. For tickets and information call (978) 232-7200, or visit the box office at 62 Dunham Rd., Beverly, MA. www.nsmt.org 

 

 

The Sound Of Music Opens A Reagle Music Theatre of Greater Boston July 11

THE HILLS ARE ALIVE!

Reagle Music Theatre of Greater Boston Presents

 The Sound of Music

July 11-21, 2019 – 8 performances with 4 matinees!

Starring Elliot Norton and IRNE Award Winner Aimee Doherty as Maria and IRNE Nominee Mark Linehan as Captain Von Trapp

Reagle Music Theatre of Greater Boston’s 51st Summer Season continues with The Sound of Music from July 11-21, 2019. This beloved family musical features Elliot Norton and IRNE Award winner Aimee Doherty as “Maria” – a free spirit who is struggling in her commitment to become a nun; when she is sent to look after the seven children of a widowed Navy captain by the Mother Abbess, she brings joy and music into the family’s home and changes all she comes in contact with. IRNE nominee Mark Linehan is featured as Captain Von Trapp. Directed and Choreographed by Daniel Forest Sullivan, Music Director Dan Rodriguez, Produced by Robert J. Eagle.

This Tony and Oscar-winning musical features beloved Rodgers & Hammerstein songs including “My Favorite Things,” “Climb Ev’ry Mountain,” “Edelweiss,” and “Do-Re-Mi.”  Music by Richard Rodgers. Lyrics by Oscar Hammerstein II. Book by Howard Lindsay and Russel Crouse. Suggested by The Trapp Family Singers by Maria Augusta Trapp. Presented through special arrangement with R&H Theatricals.

The Sound of Music runs for 8 performances with four matinees over 2 weekends; Fri & Sat at 7:00 pm, Thurs & Sun matinees at 2:00 pm.  Performance Schedule:  Thurs, July 11th at 2:00 PM; Fri, July 12th at 7:00 PM; Sat, July 13th at 7:00 PM; Sun, July 14th at 2:00 PM; Thurs, July 18th at 2:00 PM; Fri, July 19th at 7:00 PM; Sat, July 20th at 7:00 PM; Sun, July 21st at 2:00 PM.

Tickets for Reagle’s 51st summer season can be purchased at www.reaglemusictheatre.org, by calling the box office at 781-891-5600, or at the theater box office at 617 Lexington St, Waltham, MA, 02452.

Hours of operation are Monday through Friday from 9 a.m. to 4:30 p.m., Saturdays 10:00 a.m.-2:00 p.m., with extended hours from 9:00 am to curtain on performance days.

Aimee Doherty

The full cast of The Sound of Music includes: Aimee Doherty as Maria; Mark Linehan as Captain Von Trapp; Mara Bonde as The Mother Abbess; Janis Hudson as Elsa Schraeder; Robert Orzalli as Max Detweiler; Emma Heistand as Liesl; Wade Gleeson Turner as Friedrich; Jane Jakubowski as Louisa; Ryan Philpott as Kurt; Fiona Simeqi  as Brigitta; Addison Toole as Marta; Libby Sweder as Gretl; Max Currie as Rolf Gruber; Sara Delong as Sister Margaretta; Margaret Felice as Sister Sophia; Yewande Odetoyinbo* as Sister Berthe; Allyn Hunt as Franz; Tracey O’Farell as Frau Schmidt; Doug Gerber as Herr Zeller; Anelise Allen; Jacqueline Breines; Ian Costello; Joseph Duda; Doug Dulaney; Audrey Flowers; Nikki Kelder; Helen L. Kemeny; Lenni Kmiec; Lindsay Kraft; Stephanie Kreutz; Sujinna Mariella Kuenghakit; Lauren Marlow; Amanda McGranahan; Julie McNamara; Conor Meehan; Marian Rambelle; Simon Rogers; Tyler Shore; Nora Sullivan; Joey Thordarson.  * Appear through the courtesy of Actors’ Equity Association, the union of professional Actors and Stage Managers in the United States

Mark Linehan

Reagle Music Theatre of Greater Boston (RMT) has been bringing Broadway-quality musical theatre to the greater Boston area for 51 seasons.  Under the creative direction of Robert J. Eagle the non-profit theater company’s professional productions have earned IRNE and Moss Hart Memorial Awards as well as rave reviews from critics.  Reagle’s productions have attracted Broadway stars and legendary performers including Patti LuPone, Sally Struthers, Vicki Lawrence, Andrea McArdle and Shirley Jones.  RMT is also committed to supporting arts education for area youth through Youth Education workshops and by using theatre techniques to support the Waltham Public Schools’ curriculum.  For the latest information on Reagle Music Theatre’s programs and performances see www.reaglemusictheatre.org, and follow RMT on Facebook (ReagleMusicTheatre), Twitter (@ReagleMusicThtr), and Instagram (@reaglemusictheatre).

Where Are The Gloves From The Dempsey/Willard Fight?

Could The King Tut’s Tomb Of Boxing

Be At 50th Street And Eighth Avenue?

By Bobby Franklin

Are These Gloves Buried In NYC?

One hundred years ago, on July 4, 1919, in Toledo, Ohio, Jack Dempsey won the Heavyweight Championship of the World from Jess Willard. The fight, which took place under a blazing sun, is remembered for many things. It ushered in the Dempsey era and the making of a legend. The footage of the fight, which is amazingly clear, shows Jack giving the champion a vicious beating. Though he was outweighed by nearly sixty pounds, Dempsey tore into Jess like a hungry lion. He decked Willard seven times in the first round and Jess was on the verge of being counted out when he was saved by the bell. Willard managed to stay on his feet for two more rounds and fought back gamely before retiring as the bell rang for round four. 

In 1963 Jack Kearns, who had manage Dempsey at the time he won the title, wrote an article that was published in Sports Illustrated saying Jack’s gloves were loaded when he fought Willard. Dempsey vehemently denied it and sued the magazine for publishing the article. They settled out of court. 

There had been bad blood between Kearns and Dempsey for years, and  Kearns died not long after he wrote the article. It was as if he wanted to get one last shot at the great champion before he shed his mortal coil. He certainly did  hat and the controversy has raged on for years.

Much has been written about whether on not Dempsey went into the fight having an unfair advantage, and I am not going to rehash those arguments now. I do want to bring up another mystery that is connected to that day.

In all of the arguments over whether or not Jack’s gloves were loaded that day, one thing that was never done was for there to have been an examination of those gloves. In fact, nobody seems to know for sure what happened tom them.

Not long after the Kearn’s story appeared, former Bantamweight Champion Babe Herman announced that he was in possession of the gloves. He said they were given to him years earlier by a seaman, though he said he couldn’t remember the man’s name. He claimed the man was a close friend of Dempsey’s and also friend of his. He didn’t say how the man got them and didn’t offer and convincing evidence of their authenticity. Babe said that Dempsey knew he was in possession of the gloves and even suggested they be put in a glass case at his restaurant in New York. 

Jack Dempsey Burying The Gloves From The Willard Fight?
(Photo Courtesy Of The Great Spesh)

This doesn’t add up as there is a newspaper photo that was taken on December 10,1934 that shows Jack Dempsey placing what he claims are the gloves from the fight under the cornerstone of his soon to be built restaurant at the corner of 50th Street and Eight Avenue in New York City. This was directly across from the old Madison Square Garden. In the photo he is accompanied by his wife Hannah and Mayor LaGuardia along with a number of other people. Did Jack forget about this when he was talking with Herman, if indeed such a conversation actually took place.

One of the reasons for examining the gloves would have been to see if there were traces of plaster of Paris in them. Kearns claimed he soaked Dempsey’s taped hands in the substance before the fight. That claim has been pretty much debunked, but checking the gloves would completely rule out that possibility. 

Of course, the gloves in the photo very well may not have been the the ones Jack wore that hot July 4th afternoon. It is possible they were just an old pair of boxing gloves and the whole thing was staged for publicity for Jack’s new restaurant. It does seem odd he would bury the gloves rather than put them on display. Perhaps he was getting rid of the evidence, though that wouldn’t have added up since this was almost thirty years before Kearns wrote the story that got things stirred up.

Still, it would be interesting to uncover the gloves. Jack eventually moved the popular restaurant to between 49th and 50th Streets. It doesn’t appear the gloves went along for the ride. 

Could they still be buried at that location? It’s very likely. Are they the gloves Jack wore when he beat Willard? I doubt it, but it is possible. There is only one way to find out. Recovering them would be one of the great finds in the archeology of boxing. I say an archeological dig should be ordered for the site. It is time to recover this rare artifact from the reign of one of the greatest kings in the history of boxing. Can you dig it?

 

The Calamari Sisters Come To Greater Boston Stage Company

GREATER BOSTON STAGE COMPANY CELEBRATES SUMMER WITH THE CALAMARI SISTERS’ SAUSAGEFEST 

Once you’ve finished the meat you’ve grilled for the Fourth of July, come on over to Greater Boston Stage Company where the Calamari Sisters’ will be serving up sausages like you’ve never seen before. Celebrate summer with these sassy, brassy broads and their newest all-singing, all-dancing, and all-cooking show, The Calamari Sisters’ Sausagefest. The Calamari Sisters bring on the heat July 18 – 21, 2019 for six scrumptious performances. Wickedly naughty, Delphine and Carmella Calamari cook up a deliciously hilarious show. Whether you’re a sausage-lover or not, you’ll laugh until your sides ache. Get ready for a raucous good time because this is a bratwurst, not a little wiener! 

GBSC’s Box Office: 781-279-2200, or visit www.greaterbostonstage.org. 

Review: “The Sound Of Music” Reagle Music Theatre of Greater Boston

The Reagle Music Theatre

Of Greater Boston

Is Alive With A Beautiful

Sound Of Music

 

The Sound Of Music

Through July 21

Reagle Music Theatre Of Greater Boston

Waltham, MA

Directed and Choreographed by Daniel Forest Sullivan

Reviewed by Bobby Franklin

Aimee Doherty
Photo: Herb Philpott

The Sound Of Music was the last musical written by Richard Rodgers and Oscar Hammerstein II. Mr. Hammerstein died nine months after it opened on Broadway in 1959. The play, based on the story of the von Trapp family and their escape from Austria on the eve of the Anschluss (Nazi Germany’s annexation of Austria in 1938), is still as touching, warm, and fresh as when it debuted. This makes it a perfect production for The Reagle Music Theatre of Greater Boston where classic Broadway musicals are given the respect they deserve.

“You will be hard pressed to find a better production of The Sound of Music anywhere.”

This was my third time at the Reagle, and I am still very impressed by how much of an authentic Broadway experience is created there. The full orchestra under the direction of Dan Rodriguez is a big part of this, as is the talent on stage as well as the direction, choreography, lighting, and sets that all make for an evening of great musical theatre.

Aimee Doherty is simply sublime as Maria. She captures the innocence as well as the instinctive worldliness of the young postulant who has entered Nonnberg Abbey in pursuit of the religious life only to find out she will travel a different road. Ms Doherty’s stage presence is as warm as her voice, and listening to her performing such great songs as My Favorite Things, I Have Confidence, and the title song is a delight.

Aimee Doherty and Children
Photo: Herb Philpott

The von Trapp children played by Emma Heistand (Liesl), Wade Gleeson Turner (Friedrich), Jane Jakubowsksi (Louisa), Ryan Philpott (Kurt), Fiona Simeqi (Brigitta), Addison Toole (Marta), and Libby Sweder (Gretl) are wonderful. Each one is a star and left me impressed and smiling as I watched them perform with Ms Doherty on Do-Re-Me and The Lonely Goatherd. So Long, Farewell is performed twice by them and I was happy for that, as once was not enough for these talented young thespians.

Mark Linehan
Photo: Herb Philpott

Mark Linehan, last seen on the Reagle stage in Mame, once again showed why he is so popular with audiences. He portrays Captain von Trapp, and his character is strict and a bit cold at first as the Captain struggles with the loss of his wife. Mr. Linehan really hits his stride when he takes his character from authoritarian patriarch to warm father under the influence of Maria. This transition is where he excels as he brings his heart into the role. Linehan’s rendition of Edelweiss is lovely and deeply moving. Midway through this farewell song to his homeland he is choked with emotion when he is joined by Maria who gives him strength. It is a beautiful moment that captures a family in its struggle not to become a part of the darkness that is overtaking their home. Set in front of a red curtain with two swastikas projected onto it, the contrast between good and evil is clearly conveyed.

Mara Bonde and Aimee Doherty
Photo: Herb Philpott

Yewande Odetoyinbo (Sister Bertha), Sara DeLong (Sister Margaretta), Margaret Felice (Sister Sophia), along with Mara Bonde (The Mother Abbess) make up the nuns of Nonnberg Abby who grapple with how to solve a problem like Maria. Ms Bonde performs a stirring rendition of Climb Every Mountain as she encourages Maria to follow her heart. She reaches deep down and has the audience cheering as she hits the final notes.

The Reagle is known for showcasing young talent, and a great example of this is when Emma Heistand (Liesl) and Max Currie (Rolf) step onto the stage with Sixteen Going On Seventeen as the teenagers pursuing their first kiss. Set around a garden bench the two glide gracefully about the stage while their lovely voices fill the theater.

Max Detweiler is played by Robert Orzalli while the role of Elsa Schraeder is taken on by Janis Hudson. Mr. Orzalli as Captain von Trapp’s friend and agent is always looking to make a deal that usually includes getting himself invited to fancy parties. Elsa is from an aristocratic family and Ms Hudson portrays her with the air of her high social status while also allowing her character to display a depth of understanding.

Emma Heistand and Max Currie
Photo: Herb Philpott

After seeing and reviewing the Reagle’s Mame last month, I went into this current production trying to keep my expectations a bit low as I didn’t think they could reach that high bar twice in a row. I was mistaken. Under the direction and choreography of Daniel Forest Sullivan and the leadership of Producing Artistic Director Robert J. Eagle, The Reagle Music Theatre of Greater Boston proved they are capable of reaching even greater heights.

With the talent assembled on the stage in Waltham, MA I have no reservations about saying you will be hard pressed to find a better production of The Sound of Music anywhere.

There are four more performances of The Sound Of Music scheduled starting this coming Thursday. It would be a mistake not to take one in.

Reagle Music Theatre of Greater Boston

617 Lexington Street

Waltham, MA

781.891.5600

www.reaglemusictheatre.org 

Raw and Powerful Jazz Musical Cabaret to Open at the Ogunquit Playhouse

Come to the Cabaret, your table’s waiting! Decadent nightlife meets dangerous times at Berlin’s alluring Kit Kat Klub in the iconic Broadway musical Cabaret, on stage July 17 through August 10. Set in the cabaret underworld on the eve of Hitler’s rise to power, the Ogunquit production is based on the searing Sam Mendes and Rob Marshall musical recently revived on Broadway and is staged by BT McNicholl, who directed the Playhouse production of Cabaret back in 2006. This unforgettable musical stars stage and screen actors Randy Harrison as the Emcee and Kate Shindle as Sally Bowles. The Ogunquit production also features Billy Harrigan Tighe as Cliff Bradshaw, Mariette Hartley as Fraulein Schneider, John Rubinstein as Herr Schultz, Noah Plomgren as Ernst Ludwig, and Katrina Yaukey as Fraulein Kost. The Ogunquit production features the Broadway set based on the original design by Robert Brill and the Broadway costumes by William Ivey Long. 

Cabaret tells the story of Cliff Bradshaw, a young American writer newly arrived in Berlin, who falls in love with cabaret singer Sally Bowles. Their romance sizzles amid the back room culture of the cabaret and the tumultuous atmosphere of pre-Nazi Germany. Cabaret is a raw and powerful jazz musical that explores the dark life of Berlin’s natives and expatriates as Germany slowly yields to the emerging Third Reich. The show has had numerous Broadway and London revivals, features a book by Joe Masteroff and is the winner of multiple Tony Awards, including Best Musical and Best Original Score for John Kander (music) and Fred Ebb’s (lyrics) compelling musical numbers which include, “Willkommen,” “Money,” “Tomorrow Belongs To Me,” “Maybe This Time” and “Cabaret.”

Immerse yourself in the show with stage-side table seating. Contact the exclusive Cabaret concierge line to learn more, 207-646-5511 ext. 328. This production of Cabaret contains adult subject matter, a review of the content advisory online is recommended before purchasing tickets. To learn more about becoming a Playhouse member, subscriber, or to purchase tickets and gift cards, visit www.ogunquitplayhouse.org or call the Ogunquit Playhouse Box Office at 207-646-5511.

 

 

 

 

Book Review: The Magnificent Max Baer

MAGNIFICO!

The Magnificent Max Baer

by Colleen Aycock with David W. Wallace

Published by McFarland (McFarlandBooks.com)

A Book Review/Interview by Roger Zotti

“Primo Carnera’s a nice chap, and he’s got lots of heart, a lot more than I thought he had. I pleaded with [referee] Donovan to stop the fight.” 

Max Baer

l

 Colleen Aycock’s latest book conclusively shatters the negative stereotype of Max Baer as he was depicted in Cinderella Man and many of his other movies. Perhaps someday a movie about  the real Baer, the one Colleen so convincingly describes in The Magnificent Max Baer: The Life of the Heavyweight Champion and Film Star, will be made. 

Compellingly written with David W. Wallace and exhaustively researched, Colleen’s latest book is a terrific account of an intriguing and unforgettable prizefighter’s life inside and outside the ring. A must-read for boxing fans, boxing historians, and lovers of biography.

In an interview with Aycock, the first question I asked her was What Made Max Baer, well, Max Baer? “Max was seen as a clown, but he was a clever clown, much smarter than given credit for,” she said. “He tried to make the sport nicer, and the crowds loved his laughter, his stories, and his charisma, not to mention his powerful fist and unpredictable behavior. And he always stood strong for children and the just.”

Next question: Why has Max been  portrayed in  films, such as The Harder They Fall and Cinderella Man, as  “a villain?” “Hollywood is Hollywood,” Aycock replied, “and to make a good film you need a hero and a villain.”

She continued: “Because early in his boxing career Max had killed a man in the ring, Frankie Campbell, the story gave Max a ‘killer’ image and that’s what Hollywood came looking for: a good-looking man (he was beautiful) who could pass a screen test and who had a reputation as a killer, though in reality he was the opposite. Unfortunately, that ‘killer image’ was usually virtually in all of the films he made, or that were made about him, even in western comedies.”

(After Campbell’s death, Aycock writes, Baer “was an emotional wreck. It was a personal battle he would fight for the rest of his life” . . . New York Mirror columnist Dan Parker added, “Had it not been for the tragedy, his killer instinct would have made Baer [the] greatest.”) 

Asked How Baer would do against today’s heavyweights? Colleen said, “In boxing skill, Max was a slugger with a good chin—in the chronological line between Dempsey and Louis. The question is like asking ‘How would Joe Louis fare against the moderns?’ We have to remember that Louis in his prime beat Max.

“In entertainment value, Max would win hands down. I would love to see Max in the ring today—it would be entertaining as hell, and the millions of dollars he would draw would be difficult to predict.”

2

Colleen’s book contains eighteen chapters, among them “The Screwball Championship Fight, Galento, 1940” and “Glamour Boy in Hollywood, 1933 to 1958.” In the Baer-Galento chapter I recall seeing highlights of it on “Greatest Fights of the Century,” which aired from 1948 to 1954, with Jim Stevenson as narrator. I knew what to expect.

Before the Galento fight Baer spoke with Lou Nova, a victim of “Two Ton” Tony’s tactics in their 9/15/39 battle. For some reason the referee allowed Galento to repeatedly thumb Nova in the right eye. (Watch it on YouTube. It’s definitely cringe-worthy!)

Baer told Nova, who was stopped in the 14th round and later hospitalized, he had fought Galento incorrectly, that the way to fight  him was, Colleen quotes Baer as saying, “’at long range and go directly to the head . . . [Galento] couldn’t be beaten in a clean fight because he was one of the dirtiest . . .’” 

Before Max left Nova’s hospital room, Lou looked at him and said,   “’You’re the man who can beat Tony Galento.’”

Colleen writes, “It was a fight of head butts, slashes with laces, thumbs, and gouges.” (No surprise, eh!) Also, she quotes reporter Gayle Talbot of the Asbury Park Press as writing: “’The fat old tavern keeper was sitting on his stool, blowing blood like a harpooned whale, when the bell rang to start the eighth round. His handlers wouldn’t let him go out.’ The only thing the fight proved was that ‘there isn’t a heavyweight in the world today worthy of challenging Joe Louis for the championship.’”

While he was still active in the ring, Baer began his acting career. And why not? He had looks and was a natural ham. 

His first film was 1933’s The Prize Fighter and the Lady,” co-starring Myrna Loy, probably best known today as the wife of private detective Nick Charles in those great Thin Man movies of the thirties and forties. Prizefighter was a success and so was Baer. Aycock quotes the movie poster: “Watch your  pulse, Girls! A curly haired man is coming into your life. Resist him if you can. Handsome, strong, and alive! Hollywood calls him the male Mae West with a streamline chassis.”

Appearing in the film was then heavyweight champion Primo Carnera, who played a character named Primo. He and Max’s character, Steve Morgan, do battle. Reality intervened seven months after the movie’s release when Carnera and Max fought, in New York’s Madison Square Garden, for the former’s heavyweight title.

During his long career, Max appeared in mostly corny but enjoyable movie comedies, with such actors as William Bendix, Patsy Kelly, Brian Donlevy, and Walter Brennan, among others. 

In 1945, he teamed with former light-heavyweight champion “Slapsie” Maxie Rosenbloom in a vaudeville revue. “It was said that the boxers gave up clout for corn,” Colleen writes, “but it was very successful corn . . .”

 She quotes reporter Alan Ward of the Oakland Tribune as writing, “. . . unlike other fighters and champions who became broke and bewildered after their ring careers, ‘it is gratifying to realize that here are two who not only are doing well financially but are right up there with chips.’”

 In the last decade of his life, Max appeared as a guest in numerous televisions shows, such as “The Milton Berle Show,” “The Perry Como Show,” and “So This Is Hollywood.”

Baer had an important role in Humphrey Bogart’s last movie, 1956’s The Harder They Fall. Tautly directed by Mark Robson and adapted from Budd Schulberg’s memorable novel, the movie co-starred Rod Steiger, Jan Sterling, and Mike Lane. Lane played a Primo Carnera-like character—he was called Toro Moreno—and Max portrayed heavyweight champion Buddy Brannen, a thinly disguised copy of himself. 

“When the movie opened in 1956,” Aycock writes, “Primo Carnera sued Columbia Pictures and the book’s author  . . . for $1.5 million, charging that both products were an invasion of privacy causing him scorn and ridicule and the loss of respect.”

The Harder They Fall is a movie that digs deeply into the corrupt side of boxing; and its star, Humphrey Bogart, Colleen says, “fearlessly commented on the social impact of the film, saying he realized ‘a lot of fans are as interested as I am in seeing the bad elements in boxing cleaned up.’”

Colleen rightly believes the portrayal of Max, in 2005’s Cinderella Man, directed by Ron Howard and starring Russell Crowe as James J. Braddock, was a “character assassination.”  Craig Bierko, a fine actor, plays Max, who’s wrongly portrayed as a big mouth womanizer unremorseful about his tragic fight with Frankie Campbell. 

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Aycock said The Magnificent Max Baer is her “heart book [because] it represents my connection to boxing through my father, a professional boxer during the Great Depression.” Abandoned as a teenager in South Texas, her father, Ike, “tried continuing his high school education while working in a dairy for room and board . . . There was a time in the 30s when a town’s entertainment was a make-shift boxing ring city center where men could throw pennies and nickels on the canvas to encourage a challenge. My father stepped into the ring as a young man so he could buy a pair of shoes.

“He always told me, ‘Don’t feel sorry for me, the black boxers had it worse.’ Coming from Mississippi, I admired his feelings for the black boxers at a time when society was still drawing the social color line and racial division was at a boiling point. He told me pointedly, ‘Everyone is equal in the ring.’ It was an early, visible lesson for me in equal rights.” 

When Baer advertised for sparring partners in 1934, Colleen writes, “my father took the train to California” to help the big heavyweight prepare for future fights. “He loved Max as many did during that bleak economic times. So I always dreamed of writing a book about Max Baer.”

A regular contributor to the IBRO Journal, Roger Zotti has written two books about boxing, Friday Night World and The Proper Pugilist. Contact him at rogerzotti [at] aol [dot] com for more information about them.

A Weigh-In Or A Sideshow

The Weigh-In

By Bobby Franklin

Robinson and LaMotta

Fighters have always weighed in before a fight. This ritual used to take place the day of the fight, usually in the early afternoon. With heavyweights it wasn’t as important as with the other divisions as there is no limit on what weight the big guys can fight at. In the other categories it used to be watched closely because if a fighter did not come in below the limit for his division he would be forced to shed the extra pounds within a couple of hours. If he didn’t, the fight could be canceled, he could agree to pay a fine, or, if it was a title fight, the two camps could agree to go on with the bout without having the championship on the line. 

Schmeling and Louis 1938

With the heavyweights, it was more of a case of seeing what kind of shape the fighters were in. It was a bit like predicting earnings before a company makes its quarterly financial report. If a company exceeds expectations, its stock will rise, if not, the stock will take a hit. In a heavyweight fight a fighter coming in overweight, or even too light, could have an effect on the odds.

Today, the weigh-in is quite different. While in the past it was expected the fighters would enter the ring weighing pretty close to what the scales said earlier that day. Now fighters step on the Toledo a day or two before the bout and can put on as much as ten, fifteen, or more pounds by fight time. Quite often you will see one fighter who looks much bigger than another. That’s because he is.

Another difference is in how the ritual of the weigh-in is conducted. Throughout most of boxing’s history it was a fairly serious affair. Both fighters would appear and take turns stepping up to be weighed while the other looked on. A doctor would give each a brief examination, and then the two would shake hands and wish each other luck while photographers snapped pictures. With rare exception, great sportsmanship was displayed as each showed respect for the other.

Gene Fullmer and Ray Robinson 1957

Somewhere along the line, probably starting with Cassius Clay vs Sonny Liston in 1964, this ritual began to take on a circus atmosphere. While what happened that day in Miami was very unusual for the times, and remained rare for a number of years, it has now gotten even worse and has become the norm. Fighters hurl obscenities at each other while pushing, shoving, and throwing wild punches. It has devolved into something more like pro wrestling. It’s also interesting to see today’s fighters standing on the scales and striking body builder poses, another thing taken from wrestling. At its best it is silly, but it is more often childish and demeaning to the sport and its participants. 

I suppose it is just another reflection of the changes we see in society. As for me, I would like to see a return to the old decorum that made us look with respect upon the athletes who were going to step into the ring that night. Clowns may be funny in a circus, but for those of us who looked at boxing as a serious profession, it is depressing to witness. Could you imagine Jack Dempsey, Joe Louis, Rocky Marciano, Ray Robinson, or the hundreds of other great champions behaving like that?  

Review: “Cabaret” At The Ogunquit Playhouse

Cabaret

A Dark and Decadent 

Reminder

At The  Ogunquit Playhouse 

Cabaret

Through August 10

The Ogunquit Playhouse

Directed By BT McNicholl

207.646.5511

ogunquitplayhouse.org 

Reviewed by Bobby Franklin

Randy Harrison and Cast
Photo:Gary Ng

When you enter the theatre for the production of Cabaret now playing at the Ogunquit Playhouse, the curtain is already up and some of the cast are on stage slinking about and interacting with the audience. You have not only arrived at your seat, you are now in the Kit Kat Club where much of the story unfolds. 

I have seen a number of productions of Cabaret over the years, and they keep getting darker and rawer. This is not to say the original was an uplifting story. It is, after all, set in Berlin in the early 1930s at the time the Nazis were gaining power and much was changing. None of it for the better. 

The play, with music by John Kander and Fred Ebb, is based on the story I Am A Camera which was included in Christopher Isherwood’s Berlin Diaries. Many musicals, while still very enjoyable, become dated. This is not true with Cabaret. The story set against the backdrop of extremists gaining control of government while using fear and hatred to stir up support is as relevant today as ever. In a time when we are seeing politicians from both sides of the political spectrum spouting hate and instilling fear in people, it makes seeing a work such as Cabaret even more important to serve as a reminder of just how far out of hand this  rhetoric can lead. Politicians from both major parties have become comfortable spewing repellent bigotries such as anti Semitism and hatred of immigrants. Class warfare is also on the rise, with people being told there is always someone else to blame for their troubles. 

“Even the orchestra is beautiful”

Overall, the Cabaret I saw the other night in Ogunquit was excellent. The  14 piece orchestra led by Bruce Barnes that was onstage throughout the performance lived up to line in the opening number “Even the orchestra is beautiful”. 

Randy Harrison as the Emcee puts his own interpretation on the role and was entrancing and disturbing. As the symbol of the decay and sickness that was engulfing the Weimar Republic, he haunted the stage throughout the evening. As soon as he opens with Willkommen, it is clear his will be an incredible performance, and it is.

Randy Harrison deserves high praise for his bravura performance.

Mr. Harrison, joined by a member of the cast dressed as a gorilla in If You Could See Her, has the audience smiling at first, but when he sings the final ugly line of the song it feels like a punch to the stomach. He is also superb on the decadent Two Ladies, as well as Money, and the ominous I Don’t Care Much. Randy Harrison deserves high praise for his bravura performance. 

Mariette Hartley, John Rubinstein, and Cas
Photo: Gary Ng

The legendary Mariette Hartley plays Fraulein Schneider, the proprietor of a rooming house who is trying to survive amid the rampant inflation of the time. Ms Hartley’s presence on the stage is striking. She does fall just a bit behind on some of her lines, but when she sings What Would You Do? in Act II, she so captures the struggle of choosing between principle and survival that it forces audience members to grapple with that question. By the time she is done, you understand why she has endured as a star for over fifty years.

Broadway veteran John Rubinstein plays Herr Shultz, the owner of a fruit store, who is Jewish and believes the Nazi movement will pass. He is quite taken with Fraulien Schneider. To show his affection he brings her a pineapple and they sing It Couldn’t Please Me More while pineapple lanterns descend from above the stage. 

When he proposes marriage to Fraulein Schneider, he sings Married where he explains to the skeptical Schneider “the world can change, it can change like that, due to one little word, married…”.  An absolutely amazing performance is given by Katrina Yaukey who sings Married in German from above the stage while standing behind a frame hanging at an angle. Her voice is beautiful and reminiscent of Marlene Dietrich as it carries over the couple while they are dancing. I was very taken with Ms Yaukey’s performance. 

Closing out Act I is the rousing and chilling Tomorrow Belongs To Me. What has always fascinated me about this song is how moving it is until you realize what it foretells. It is  with songs like this that Kander and Ebb let you know how easy it is to get caught up in the emotion of a political movement. It begins with a promise of hope and revival, but by its conclusion you feel the hate.

Kate Shindle
Photo: Gary Ng

I have left the roles of Sally Bowles (Kate Shindle) and Cifford Bradshaw (Billy Harrigan Tighe) for last. While both were adequate, they lacked the emotional synergy to really make the impact that was needed. Ms Shindle, while hitting all the right notes and lines, but was just not convincing. Mr. Tighe  also did not seem fully engaged in his role as Cliff. Neither is awful, they just were a bit flat .

Despite this weakness, it is still a solid and emotionally jarring production.  It’s a bit different than the usual Ogunquit Playhouse musicals in that it is not a toe tapping musical comedy. However, even with the play’s darkness, the music is beautiful and powerful. Along with fine choreography and   its magnificent staging it  serves as a  reminder that those who do not learn history are doomed to repeat it. The final scene is something you will not forget. It is disturbing and ugly and a reminder of what hate can motivate people to do. 

I have seen four previous productions of Cabaret including one with Mariette Hartley in 2003, and the 1987 revival with Joel Grey. I have pointed out some weak points, but this may have been the best I have seen. In fact, I might see it again before it closes. I highly recommend it. Cabaret at the Ogunquit Playhouse should not be missed. 

La Cage Aux Folles To Open At Reagle Music Theatre Of Greater Boston

Reagle Music Theatre of Greater Boston Presents

 La Cage Aux Folles

August 8-18, 2019 – 8 performances with 4 matinees

 

Reagle Music Theatre of Greater Boston‘s 51st Summer Season concludes with La Cage Aux Folles from August 8-18, 2019. This hilarious, heartwarming musical comedy shows what happens when the proprietor of a glitzy drag club comes face to face with a bigoted politician (and soon-to-be in-law), all in the name of love and family.  Featuring Broadway alum James Darrah (Hello Dolly!, Avenue Q) as “Albin” – the drag star of La Cage Aux Folles nightclub, and the love of his life and club owner, “Georges,” played by J.T. Turner (Reagle’s 42nd Street, Anything Goes).  Directed and Choreographed by Susan M. Chebookjian, Music Director Dan Rodriguez, Produced by Robert J. Eagle.

Reagle’s production of the groundbreaking musical comedy features a score by Tony and Grammy winner Jerry Herman (including songs like “I Am What I Am,” “The Best of Times,” and “Song on the Sand”) and a book by four-time Tony Award winner Harvey Fierstein.  Based the play “La Cage Aux Folles” by Jean Poiret.  Presented through special arrangement with Samuel French, Inc.

La Cage Aux Folles Cast

James Darrah as ALBIN:  James Darrah, Broadway veteran and Waltham native, first appeared on the Reagle stage as a Munchkin in The Wizard of Oz during the company’s second season in 1970. Broadway credits include: Ambrose Kemper in the 30th Anniversary Revival of Hello, Dolly! at the Lunt Fontaine Theatre, opposite Carol Channing; Avenue Q; Boeing Boeing; Hedda Gabler. Some Off-Broadway and Touring credits include: Cornelius Hackle in, Hello, Dolly! opposite Madeline Kahn; 42nd Street (Billy) opposite Jerry Orbach and Tammy Grimes; Silent Laughter; archy and mehitabel; Once Around the City; Billion Dollar Baby starring Kristin Chenoweth; Secrets Every Smart Traveler Should Know. TV credits include Late Night with Conan O’Brien, Law and Order, Christmas at Rockefeller Center; General Hospital and other daytime dramas. James holds Broadway and Off-Broadway stage management credits and spent six seasons as Stage Manager on staff at The Metropolitan Opera. He is on The Board of Governors of The American Guild of Musical Artists. James is in his seventh year as Production and Stage Director for the annual Henry Viscardi School Celebrity Sports Night. James is a former Ringling Brothers and Barnum & Bailey Circus clown and faculty alumnus of their famed Clown College.

J.T. Turner as GEORGES:  J.T. returns to the Reagle stage where he was most recently seen as Moonface  in Anything Goes. His recent performances include Rochefort in 3 Musketeers, (GBSC), Fezziwig in Christmas Carol, (NSMT) Snowbell in Stuart Little, (Wheelock) and Alfie in My Fair Lady, (Lyric). He is the Descriptive Narrator for the PBS shows ARTHUR and MARTHA SPEAKS, as well as episodes of MYSTERY!. J.T. tours with solo shows about Shakespeare, Robert Frost, Ben Franklin and Charles Dickens.

The full cast of La Cage Aux Folles includes: James Darrah* as Albin; J.T. Turner* as Georges; Jonathan Acorn as Jean-Michel; Benz Atthakarunpan as Jacob; Lily Steven as Anne; Rich Allegretto as Dindon; Maureen Brennan* as Marie Dindon; Allyn Hunt as Renaud; Margaret Felice as Madame Renaut; Ellen Peterson as Jacqueline; Robert B. Orzalli as Francis; Dwayne P. Mitchell*, Joey Cullinane, Paul Watt-Morse, Michael Morley, Justin Flores, Andy Edelman and Will Burke as Cagelles; Maria Tramontozzi, Conor Meehan, Madelyn Sproat, Anelise Allen, Nino Ruggeri, Kat O’Connor and Ian Costello round out the ensemble.  *Denotes member of Actor’s Equity Association

La Cage Aux Folles runs for 8 performances with four matinees over 2 weekends; Fri & Sat at 7:00 pm, Thurs & Sun matinees at 2:00 pm.

To purchase, visit www.reaglemusictheatre.org, call 781-891-5600, or visit the theater box office at 617 Lexington St, Waltham, MA, 02452. Hours of operation are Monday through Friday from 9 a.m. to 4:30 p.m., Saturdays 10:00 a.m.-2:00 p.m., with extended hours from 9:00 am to curtain on performance days.

Opening At North Shore Music Theatre August 6: “Jersey Boys

OH, WHAT A NIGHT!

‘JERSEY BOYS’

PREMIERES AT NORTH SHORE MUSIC THEATRE

IN A ONE-OF-A-KIND 360° IMMERSIVE PRODUCTION

August 6 – September 1, 2019

 

 Bill Hanney’s award-winning North Shore Music Theatre (NSMT) continues the 2019 Musical Season with JERSEY BOYS, the story of Frankie Valli and the Four Seasons. This special extended engagement plays for four week starting Tuesday, August 6 and playing thru Sunday, September 1, 2019. JERSEY BOYS is sponsored by Abiomed.

 “We are so proud to be presenting the Massachusetts Regional Theatre Premiere of Jersey Boys. Many people have seen the show on Broadway and on the many tours that have come through the area, but I can guarantee they have never seen the show like this before,” said Bill Hanney, NSMT owner and producer. “Our audiences will not just be watching the musical phenomenon – but they will be experiencing the show from all sides in our unique 360° theatre. Our Producing Artistic Director, Kevin P. Hill, has created a brand-new immersive production featuring his own original direction and choreography. Our extraordinarily talented cast will have audiences saying, “Oh, what a night!” and coming back for more!”

JERSEY BOYS is the four-time Tony Award-winning musical about Frankie Valli and The Four Seasons – four guys from Jersey who had a sound nobody had ever heard … and the radio just couldn’t get enough of. But while their harmonies were perfect on stage, off stage it was a very different story. Go behind the music and inside the story of Frankie Valli and The Four Seasons in JERSEY BOYS, featuring a book by Marshall Brickman & Rick Elice, music by Bob Gaudio and lyrics by Bob Crewe. The unforgettable score includes top ten his like “Sherry,” “Big Girls Don’t Cry,” “Walk Like A Man,” “Can’t Take My Eyes Off You,” and “December, 1963 (Oh What A Night).”

The cast of JERSEY BOYS will be led by Andrés Acosta as Tommy DeVito, Luke Hamilton as Bob Gaudio, Jonathan Mousset as Frankie Valli and Alex Puette as Nick Massi. The cast of 15 also features Matthew Amira, Barry Anderson, Ashley Chasteen, Luke Darnell, EJ Dohring, Mia Gerachis, Josh Greenblatt, David LaMarr, Alyssa Mcanany, Alaina Mills, and Corey Mosello.

 JERSEY BOYS performances are August 6 – September 1, Tue – Thurs at 7:30 pm, Fri & Sat at 8 pm, matinees Wed, Sat and Sun at 2 pm. For tickets and information call (978) 232-7200, visit nsmt.org, or visit the box office at 62 Dunham Rd., Beverly, MA.

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Book Review: “My Favorite Fights” By Jerry Fitch

Cleveland’s Mr. Boxing
Looks Back At His Favorite Fights

Book Review
My Favorite Fights
By Jerry Fitch
152 Pages
jerryfitch1946 [at] gmail [dot] com

Reviewed by Bobby Franklin

Every fight fan has his favorite fights. Some are those that were seen live either in person on on television. Others have been viewed on film and usually include classics such as Ali v Frazier I and Louis v Schmeling II. But those would be included on any list of “great” fights.

In Jerry Fitch’s latest book, he does not compile another list of the greatest fights. What he does is to look back at a lifetime, over 50 years of watching fights, and chooses his “favorite” fights. Yes, some of his favorites are also some of the great fights of all time, but there are many included in this collection that became favorites for other reasons. It is that difference that makes this book so enjoyable. In fact, after reading it I started to look back at my own history of watching fights and recalled how many fights I saw on the local level that would rank on my list of favorites.

In 25 chapters, Jerry describes the fights he fondly remembers and gives his reasons for why they stand out in his memory. Living in Cleveland, he had the good fortune to be in a place that had an active boxing scene over the years. He has written a book on the history of Cleveland boxing as well as biographies of two great fighters from that city, Johnny Risko and Jimmy Bivins. Jerry has earned the title “Cleveland’s Mr.Boxing”.

His list does have some of the all time great fights on it. He has chapters on Ali vs Frazier I, the first Leonard/Duran fight, the first Louis/Conn fight, and the fight where Rocky Marciano won the title from Jersey Joe Walcott. His take on these fights is very interesting, and there is no doubting Jerry is an “old school” boxing guy.

While reading his views on experiencing these well known battles is a treat, the book gets really interesting when Jerry writes about some of the lesser known matches between figures that never made to the top. Or fights that would never be considered great, but certainly are interesting. He has a fine eye for picking out the matches.

Doyle Baird

One favorite of mine, for obvious reasons, is the first fight between the exciting Akron, Ohio middleweight Doyle Baird and Boston favorite Iron Mike Pusateri, held in Cleveland in 1971. Baird had established himself as a world class fighter having fought a draw with champion Nino Benvenuti in a non title fight, scoring a win over Don Fullmer, and going ten rounds with Emile Griffith while losing a decsion. As any Boston boxing fan from that era will tell, Iron Mike Pusateri was one tough battler.

Jerry’s descriiption of the fight is terrific, but he also gets into some of the background of the promotion as well as telling a funny story about a fan he was seated next to. It’s all part of the charm of this book.

Another reason for choosing a fight as his favorite has to do with his personal boxing history. Most real fight fans will remember the first pro boxing match they ever attended. In Jerry’s case it was the third fight between Carmen Basilio and Johnny Saxton which was held in Cleveland. This welterweight title fight was the rubber match between the two combatants, and Jerry admit it was anti-climatic, but it was very exciting to have his first live boxing experience be a championship fight.

Some of the other fights discussed in the book are the 2nd bout between local fighters Billy Wagner and John Griffin, Cassius Clay vs Doug Jones, Danny Lopez and Bobby Chacon, Ali vs Wepner, and Palomino vs Muniz I.
There is even a very interesting chapter on a fight card Jerry attended in Palm Springs, CA where the main event had to be delayed because the ring was swarmed by grasshoppers.

Jerry Fitch “Mr.Boxing”

This is Jerry’s fifth book, and he is to be credited with doing much to keep alive the memory of the great history of boxing. In choosing to include a number of local fight cards in this collection he has seen to it that the guys who never made it big are still remembered for the wonderful fights they put on before smaller crowds. Some of these fight cards were more exciting than many of the big pay per view fights that fans laid out big money to see.

After reading Jerry’s book I hope you too will think back on those fights you saw at the local arenas, and come to appreciate how hard those fighters fought for the short money. While Boston boxing fans have never witnessed an infestation of grasshoppers before a main event, I am sure you will have many of your own stories to tell about nights at ringside. Jerry Fitch shows us just how interesting so many of those memories are.

To order a copy of My Favorite Fights, email Jerry Fitch at jerryfitch1946 [at] gmail [dot] com

 

“Not Fade Away” Comes To Greater Boston Stage Company August 23

GREATER BOSTON STAGE COMPANY ROCKS IT OUT WITH 

NOT FADE AWAY 

Friday, August 23, 2019… That’ll Be the Day… that Not Fade Away comes to Greater Boston Stage Company! Greater Boston Stage Company welcomes back Austin Price, last season’s Johnny Cash in Million Dollar Quartet. Austin, alongside his band Not Fade Away, creates the ultimate throwback to Buddy Holly and the legends of rock n roll. Not your typical Buddy Holly tribute, Not Fade Away will celebrate the unforgettable sounds of Buddy Holly, Ritchie Valens and The Big Bopper with hits by Bill Haley, The Beach Boys, Roy Orbison, Jerry Lee Lewis, Elvis, The Beatles and more. So, don’t feel blue Peggy Sue, because you have five chances to see these guys and gals jumping up on instruments, dancing, soloing behind their heads, and jumping through ropes (yee-haw!) all to powerful NEW renditions of the classic hit songs of the 50’s, 60’s and beyond. Not Fade Away rocks on from August 23 – 25, 2019 for five hopping performances. 

For more information call GBSC’s Box Office at 781-279-2200, or visit www.greaterbostonstage.org. 

Box Office Hours: Mondays – Fridays, 11am to 6pm; Saturdays, 1pm to 6pm
Location: 395 Main Street, Stoneham, MA 02180

Cindy Williams to Join the Cast of the Ogunquit Playhouse Production of Menopause The Musical

The Ogunquit Playhouse is thrilled to announce that Cindy Williams will join the cast of the hilarious musical comedy, Menopause The Musical, as the host. Ms. Williams is best known for her role as Shirley Feeney alongside Penny Marshall (Laverne) in the hit television show Laverne and Shirley. This joyful musical parody is on stage from September 4 through September 14. 

A raucous celebration of womanhood inspired by a hot flash and a bottle of wine, Menopause the Musical applauds women who are on the brink of, in the middle of, or have survived The Change. Grab your best gal-pal or your best guy for this hilarious and joyful parody of 25 re-lyricized classic hits from the ‘60s, ‘70s, and ‘80s. The show features chart-toppers including “I Heard it Through the Grapevine that You No Longer See 39,” and the disco favorite “Stayin’ Awake, Stayin’ Awake!”

For tickets visit www.ogunquitplayhouse.org or call the Ogunquit Playhouse Box Office at 207-646-5511.

The Ogunquit Playhouse season continues with Cabaret, on stage now through August 10; Agatha Christie’s Murder on the Orient Express, August 14 through August 31; the Tony Award-winning, smash hit musical Kinky Boots, September 18 through October 27.

Some Summer Reading Recommendations

 Boxing Books That Belong In 

Every Fan’s Library

 

By Bobby Franklin

This time of the year it is common to see lists of book recommendations for summer reading. Often these lists are titled along the line of “Books To Bring To The Beach”. 

That has always made me chuckle as I love going to the beach but not to read. Sitting in the sun with the beautiful ocean in front of me is not conducive to sparking a desire to read. I prefer doing my reading at home where it is quiet and the distractions are few.

The one good thing about these lists is it gives people like me an excuse to recommend favorite books. In this case the books will be some of my favorite boxing reads. It will be a brief list and is just a small sampling of titles that I think you will enjoy. I could have a much longer selection, but I decided to pick the few that I believe are absolute musts for any serious boxing enthusiast to have in his library.

My first choice is Mike Silver’s “The Arc of Boxing: The Rise and Decline of the Sweet Science”. When I first read it in 2010 I was so impressed I put it at the top of my list for must read boxing books. Mike looks at boxing with the eye of an art critic. He knows the game and he understands the art. His arguments, which I find indisputable, about how and why boxing has become a lost art are measured, well thought out, and solid. If you want to know what has happened to boxing over the years, and why today’s boxing no longer even resembles what it was in its golden years, you will find the answers here. For instance, he points out the differences between a great scientific boxer and a boxer who may appear to have great skills but is relying on his physical talents instead of boxing IQ.

Next is Paul Beston’s The Boxing Kings: When American Heavyweights Ruled The Ring. Paul has written an overview of the heavyweight division that covers all the important events and champions over 100 years. While I have referred to it as an overview, don’t think this is just a list of champions and their fights. 

Paul Beston is an extraordinarily talented writer and his history brings the legends and the times they lived in to life. His treatment of John L. Sullivan shows just what an important figure the Strong Boy was in making boxing a mainstream sport and the Heavyweight Champ a mythic figure. 

His chapter on Joe Louis actually brought tears to my eyes as Paul gives the very great champion the recognition he deserves not only for his talent as a fighter, but also for the incredible strides he made in race relations in this country. My sadness came from the realization this great man has been all but forgotten today. Joe Louis transcended boxing and he should never be forgotten. 

Dempsey, Johnson, Tunney, Baer, Marciano and the others are included. After reading this wonderful book you will really appreciate just how unique each of these men were.

Glen Sharp wanted to be a boxer and spent time in the boxing gyms in his native California. After a brief amateur career he turned pro and had three fights, losing two of them. I can understand if this doesn’t sound like the makings of a great boxing memoir to you, but it would be a big mistake not to read his book Punching From The Shadows: Memoir of a Minor League Professional Boxer. 

The best way to describe Glen’s well written account of his time is the ring is to call it honest. His descriptions of the gyms around Stockton, California during the early 1980s and his time spent as a sparring partner for light heavyweight contender Yaqui Lopez is the stuff of novels. 

The honesty in the book comes from Glen’s openness in telling about the emotional struggle every boxer goes through but few will admit. There was never a young man that laced on a pair of gloves who didn’t somewhere in his head believe he would one day become a world champion. It is in facing the fact that you can never succeed at something you love and desire so much that makes boxing such a cruel yet valuable parent. 

I am not one to toss around the word classic, but I am also not alone in calling Punching From The Shadows one. This  is an important boxing book as well as an important book about dealing with life. 

I will finish by recommending a work of fiction that turned fifty years old this year. Leonard Gardner’s Fat City is one of the great boxing novels of all time. The story about washed up pro Billy Tully and novice Ernie Munger is set in Stockton, California, which makes it a great book to read in conjunction with Glen Sharp’s memoir.

It is a dark story but the work is more poetry than prose. In less than 200 pages Leonard Gardner paints a picture in words that will remain vivid in your mind. I read it for the second time a couple of years ago when I was fortunate enough to spend some time with Leonard. He is a fascinating man who knows his boxing. He also knows human nature and is one incredible writer. If you haven’t yet read this masterpiece, you are missing out one of the best works of fiction written by an American author. It was also made into a terrific movie directed by John Huston with the screenplay also written by Leonard Gardner.

There you have four books that I can unreservedly recommend. I’ll call them beach reading, but it’s okay if you sit in a chair at home and enjoy them. There are less distractions there. 

Murder On The Orient Express Opens At The Ogunquit Playhouse First Non Musical In Over 12 Years

Agatha Christie’s Masterpiece, Murder on the Orient Express Opens at Ogunquit Playhouse August 14

 

All aboard! Ogunquit Playhouse is thrilled to announce the first non-musical production at the theatre in over 12 years, Agatha Christie’s Murder on the Orient Express, on stage August 14 through August 31. This suspenseful play takes audiences on a delightful journey alongside a train full of suspects, each one with an alibi! There are twists and turns aplenty in this intrigue-filled story, newly adapted for the stage from Agatha Christie’s masterpiece by two-time Tony-nominated playwright Ken Ludwig. This beloved mystery unfolds in a fresh new way that takes audiences on a thrilling ride, and is complete with a professional New York and Broadway-based cast including Tony-nominee Anita Gillette as Princess Dragomiroff and Steven Rattazzi as the mustachioed sleuth, Hercule Poirot. This lavish production is directed by Shaun Kerrison and includes an original set designed by Tony Award-winner Beowulf Boritt and stunning costumes designed by Tony Award-winner William Ivey Long.

“I am very excited to produce my first play here at the Ogunquit Playhouse. I am a huge Agatha Christie fan and we have carefully chosen one of her most thrilling murder mysteries that has been newly adapted for the stage by Ken Ludwig. It will be seen in Ogunquit for one of the first times anywhere, live on our stage. We are delighted to share this new play with our audiences,” stated Bradford Kenney, Ogunquit Playhouse Executive Artistic Director.

This beloved mystery also features Ruth Gotschall as Helen Hubbard, Christopher Gurr as Monsieur Bouc, Kate Loprest as Countess Andrenyi, Stephen James Anthony as Hector MacQueen, Andrew Dits as Colonel Arbuthnot and Samuel Ratchett, Patricia Noonan as Mary Debenham, Olev Aleksander as Head Waiter and Michel the Conductor, and Anna Tempte as Greta Ohlsson. 

Steven Rattazzi

Steven Rattazzi leads the cast as Agatha Christie’s beloved character, Belgian detective Hercule Poirot. He has performed in Indecent on Broadway, and Off-Broadway in numerous productions including Henry V with Liev Schrieber, The Black Crook, Galileo, The Tempest with Mandy Patinkin, Stunning, Dinner Party, Painted Snake on a Painted Chair, and McGurk. In regional theatres his credits include Ken Ludwig’s Sherwood, Indecent, Lempicka, David Greenspan’s The Bridge of San Luis Rey, Seder, The School for Wives, and Marie Antoinette. He can be seen in the film The Family and is the voice behind the character Dr. Orpheus on Adult Swim’s The Venture Brothers. 

Anita Gillette

Tony-nominee Anita Gillette returns to the Playhouse to portray Princess Dragomiroff. Perhaps best known for her performance as Mona the mistress in the film Moonstruck, or for her portrayal as Tina Fey’s mother in NBC’s 30 Rock, Ms. Gillette has had an illustrious career on stage and screen, with more than fourteen Broadway shows to her credit, including Chapter Two (which earned her a Tony Nomination for Best Actress in a Play and an LA Drama Critics Award), as well as the Off-Broadway production of The Big Meal for which she was nominated for a Lortel Award. She has performed at the Playhouse numerous times, starting in 1976 with Sabrina Fair, followed by Chapter Two in 1980, The Inkwell in 1982, Steel Magnolias in 1990, How the Other Half Lives in 1994, and Alone Together in 1998. and in guest appearances on Modern Family, Blue Bloods, Elementry, Cold Case, Sex & The City, Frasier, Law & Order, and Mad About You.

Tickets are on sale now with preview performances starting at just $36, and economy seating at $51 each. To learn more about becoming a Playhouse member, subscriber, or to purchase tickets and gift cards, visit www.ogunquitplayhouse.org or call the Ogunquit Playhouse Box Office at 207-646-5511.

Review: “Murder On The Orient Express” At The Ogunquit Playhouse

Murder, Mayhem, And Laughs

On This Express Out Of Ogunquit

Murder On The Orient Express 

The Ogunquit Playhouse

Adapted By Ken Ludwig

Directed By Shaun Kerrison 

Through August 31

ogunquitplayhouse.org

207.646.5511

Reviewed by Bobby Franklin

Steven Rattazzi and Christopher Gurr
Photo Credit:Jay Goldsmith

The Ogunquit Playhouse is well known for the musicals performed on its stage each year. They are consistently good and among the best to be seen anywhere. In fact, they are so good it is all they have presented for over 12 years. Why tinker with success? 

Well, this year Artistic Director Brad Kenney has decided to do just that. For the first time on his watch a non musical has been included in the lineup. Brad has chosen Agatha Christie’s Murder On The Orient Express, and it is proving to be a very wise move.

Adapted for the stage by Ken Ludwig and directed by Shaun Kerrison, this is a not to be missed production which may very well turn out to be the high point in what has been a very strong season at the Playhouse. 

Photo Credit:Julia Russell

The set design by Beowulf Boritt and costumes by William Ivy Long are magical. It is amazing to watch what is created on stage as the Orient Express rolls into the theater. The use of projections and the framing of scenes is spectacular, the colors are vivid, and the costumes would be the envy of Edith Head. Most of the sound effects are created through the use of music, a touch that is quite effective.

While the mise en scene alone makes this is an extremely strong piece of theatre, the actors put it over the top. Led by Steven Rattazzi in the role of Hercule Poirot, the cast is just amazing.

“Mr. Rattazzi is brilliant as Poirot”

Mr. Rattazzi is brilliant as Poirot. It is almost surreal to see how he embodies his character. His accent is impeccable, his movements purposeful yet effortless, his timing absolutely perfect, and his mustache exquisitely groomed. Agatha Christie would be very pleased.

I mentioned Mr. Rattazzi’s accent, I was also fascinated by the panoply of accents used in the play. From Swedish to French to Hungarian, to Russian, to American they are all captivating and musical. The dialog is crisp and fast with many witty one-liners that are quite funny.

Photo Credit: Gary Ng

The play is fast paced and has a rhythm to it that never skips a beat. Each player is perfectly on time with his and her lines. Anita Gillette as Princess Dragomiroff is captivating. On the night I attended Ms Gillette was celebrating her 83rd birthday, and she has the energy of a person half that age. Known for her role in Moonstruck as well as numerous stage, screen, and television roles she is the consummate professional. 

All 10 members of the cast give solid performances. Ruth Gottschall, Christopher Gurr, Kate Loprest, Stephan James Anthony, Andrew Dits, Patricia Noonan, Olev Aleksander, and Anna Tempte each put their own special stamp on the character they play. Each deserve special praise for bringing the audience such a varied array of personages who all in the end have something in common. 

The train is also a star. It is stunning when the light from it first shines through the theater. Watching the scenes as they move from the different cars is amazing. It is remarkable to see what is done on the stage at the Ogunquit Playhouse; really breathtaking. With so little downtime between productions, it is hard to comprehend how the crew was able to create such a complicated set so quickly. The people behind the scenes deserve a standing ovation for the work they do.

Photo Credit Julia Russell

While the story is intriguing and also very funny, it is about a murder, actually two murders, and it ends with a moral dilemma. Many are already familiar with the story so are aware of this, but when Mr. Rattazzi’s Poirot steps forward to address the audience about making such a choice it is quite moving and thought provoking.

Murder On The Orient Express is only playing for two weeks. Tickets will become scarce, so I suggest you don’t hesitate and get down to the station to book your seat for this incredible ride. I hope the success of this non musical will lead to another next year. I have a suggestion: Why not go with Agatha Christie again; perhaps Witness For The Prosecution. 

“Sunset Boulevard” Opens At North Shore Music Theatre September 24

NORTH SHORE MUSIC THEATRE PRESENTS

ANDREW LLOYD WEBBER’S TONY® AWARD-WINNING MASTERWORK

“SUNSET BOULEVARD”

STARRING TONY® AWARD-WINNER

ALICE RIPLEY

September 24 – October 6, 2019

Alice Riipley

Bill Hanney’s award-winning North Shore Music Theatre (NSMT) is thrilled to announce complete casting for the upcoming production of Andrew Lloyd Webber’s masterwork, SUNSET BOULEVARD, which will star the previously announced Alice Ripley as the fading Hollywood star, Norma Desmond. SUNSET BOULEVARD is on stage from Tuesday, September 24 thru Sunday, October 6, 2019.

“Producing Sunset Boulevard combines two things I am very passionate about, musical theatre and classic Hollywood films,” said Bill Hanney, NSMT’s owner/producer who also owns Entertainment Cinemas, a chain of movie complexes throughout New England. “Our team has been challenged to create a show that is so thrilling and opulent that it will take the audience’s breath away and keep them on the edge of their seats the same way the original Billy Wilder film did. From the extraordinarily talented cast being led by Tony® Award-winner Alice Ripley, to the exquisite multi-level sets being created for the show, to the glamorous costumes, audiences will need to prepare themselves for an evening of theatre unlike anything they have ever seen.”

SUNSET BOULEVARD is the magnificent tale of Norma Desmond, a faded silent-screen goddess living in her Sunset Boulevard mansion clinging to a fantasy that audiences still long for her, but in reality they hardly remember her. When an impoverished screenwriter Joe Gillis, stumbles into her reclusive domain she persuades him to help her work on her film script that she believes will put her back in front of the cameras again. Seduced by her and her luxurious lifestyle he agrees. Entrapped in a claustrophobic existence, his love for another woman leads him to try and break free of Norma’s web, but with dramatic consequences.

Based on the film by Billy Wilder, SUNSET BOULEVARD, features music by Andrew Lloyd Webber and a book and lyrics by Don Black and Christopher Hampton. The Tony® Award-winning masterwork is packed with lush and swelling songs including “With One Look,” “As If We Never Said Goodbye,” “Sunset Boulevard,” and “Perfect Year.”

It has been previously announced that Tony® Award-winner Alice Ripley will take on the iconic role of Norma Desmond. Alice Ripley earned critical acclaim and won the Best Actress in a Musical Tony® and Helen Hayes Awards for her work as Diana in the Pulitzer Prize-winning rock opera, Next to Normal. Ripley received Tony and Drama Desk Award nominations for her work as conjoined twin Violet Hilton in the cult hit, Side Show. She also created the role of Betty Schaefer in the original 1994 Broadway production of Sunset Boulevard. She was also part of the original Broadway casts and created the roles in American Psycho, The Rocky Horror Show, James Joyce’s The Dead, King David, and The Who’s Tommy in addition to enjoying a long stay at the Imperial Theatre playing Fantine in the original Broadway production of Les Misérables. Alice Ripley is also an accomplished screen actress and recording artist.

Tickets for SUNSET BOULEVARD are priced starting from $61 – $86. Kids 18 and under save 50%. $25 Student Rush tickets are available with a valid student I.D. starting one hour prior to curtain time. Prices are subject to change without notice. Phone, internet, and other fees may be applied at time of sale.

SUNSET BOULEVARD performances are September 24 – October 6, Tue – Thurs at 7:30 pm, Fri & Sat at 8 pm, matinees Wed, Sat and Sun at 2 pm. For tickets and information call (978) 232-7200, visit nsmt.org, or visit the box office at 62 Dunham Rd., Beverly, MA.

 

SpeakEasy Stage Company To Present “Choir Boy”

Choir Boy

Opens At

SpeakEasy Stage Company

September 13

From September 13 to October 12, 2019, SpeakEasy Stage Company will proudly present the New England premiere of the acclaimed Broadway musical drama CHOIR BOY.

Nominated for four 2019 Tony Awards including Best Play, CHOIR BOY is a powerful coming-of-age story punctuated by the soaring harmonies of live gospel, spiritual, and R&B performances.  For fifty years, the elite Charles R. Drew Prep School has been dedicated to the education of strong, ethical black men; its legendary choir an emblem of all it holds true.  But for Pharus Young, the opportunity to take his rightful place as the leader of these talented vocalists comes at a price.  Can he still earn his place in the hallowed halls and sing in his own key?

CHOIR BOY is the work of acclaimed writer Tarell Alvin McCraney, Oscar-winner for the film Moonlight, which was based on his play In Moonlight Black Boys Look Blue. Mr. McCraney’s other plays include Ms. Blakk for President (co-written with Tina Landau), The Brother/Sister Plays, Head of Passes, and Wig Out!  Mr. McCraney is currently the Chair of Playwriting at the Yale School of Drama, and is an ensemble member at Steppenwolf Theatre in Chicago.  His original TV series David Makes Man recently debuted on Oprah Winfrey’s OWN Network. 

Maurice Emmanuel Parent will direct the New England Premiere of CHOIR BOY.  An award-winning, Boston-based actor, Mr. Parent is also the Co-Founder and Executive Director of The Front Porch Arts Collective, a new black-led theatre company committed to advancing racial equity in Boston through theatre. Mr. Parent made his professional directorial debut last season with Breath & Imagination, a co-production between Front Porch and the Lyric Stage Company of Boston, for which he received an IRNE Award nomination for Best Director of a Musical.  

Joining Mr. Parent are David Freeman Coleman, who will serve as Music Director, and Yewande Odetoyinbo and Ruka White, who will co-choreograph.  

Boston Conservatory graduate Isaiah Reynolds will return to Boston to play Pharus.  He is being joined by Jaimar Brown, Antione Gray, Dwayne P. Mitchell, Malik Mitchell, Aaron Patterson, Thomas Purvis, Nigel Richards, J. Jerome Rogers, and Richard Snee.  

CHOIR BOY will run from Sept. 13 – Oct. 12, 2019, in the Roberts Studio Theatre in the Stanford Calderwood Pavilion at the Boston Center for the Arts, 527 Tremont Street in Boston’s South End.

Ticket prices start at $25, with discounts for students, seniors, and people age 25 and under.  For tickets or more information, the public is invited to call BostonTheatreScene Ticketing Services at 617.933.8600 or visit www.SpeakEasyStage.com.                

“Little Shop Of Horrors” Opens At The Lyric Stage August 30

LITTLE SHOP OF HORRORS

Lyric Stage August 30 Through October 6

 Book and Lyrics by                    Music by

     HOWARD ASHMAN             ALAN MENKEN

 Based on the film by Roger Corman, Screenplay by Charles Griffith

  Directed and Choreographed by Rachel Breton

Music Director, Dan Rodriguez

This award-winning sci-fi pulp musical follows nebbishy florist-shop worker Seymour who haplessly pines after his coworker Audrey.

Suddenly, opportunity falls into his lap in the form of a mysterious, carnivorous, conniving – not to mention singing – plant that promises to fulfill Seymour’s every wish.

CAST:

Dan Prior                              Seymour Krelborn

Katrina Z Pavao                  Audrey

Remo Airaldi*                     Mr. Mushnik

Jeff Marcus*                        Orin and others

Pier Lamia Porter*            Chiffon

Lovely Hoffman*               Crystal

Carla Martinez*                  Ronnette

Lovely Hoffman*               Crystal

Yewande Odetoyinbo*    Audrey II (voice)

Tim Hoover                          Audrey II (puppeteer)

*Member of Actors’ Equity Association (AEA)

August 30 – October 6, 2019

Lyric Stage Company of Boston

140 Clarendon Street, Copley Square, Boston

Box Office:  617-585-5678

website:  lyricstage.com

“Menopause The Musical” Opens At Ogunquit Playhouse September 4

Menopause The Musical 

to Open at Ogunquit Playhouse

It’s time to grab your best gal pals and head to Ogunquit Playhouse for the hilarious musical comedy Menopause The Musical®, on stage September 4 through September 14. A raucous celebration of womanhood created by Jeanie Linders and inspired by a hot flash and a bottle of wine, Menopause The Musical® applauds women who are on the brink of, in the middle of, or have survived “The Change.” The show is produced by special license from GFour Productions, the producers of MENOPAUSE THE MUSICAL®, now in its 18th year, and 14th as the longest-running musical in Las Vegas history. The director of the Ogunquit Playhouse production is Tony Award®-winner Seth Greenleaf. This joyful parody of 25 re-lyricized classic hits from the ‘60s, ‘70s, and ‘80s features chart-toppers including “I Heard it Through the Grapevine that You No Longer See 39,” and the disco favorite “Stayin’ Awake, Stayin’ Awake!” 

Joining the cast of the Ogunquit Playhouse production are Anise Ritchie as Professional Woman, Kathy St. George as Soap Star, Melanie Souza as Earth Mother and Roberta B. Wall as Iowa Housewife. They will be joined by television star Cindy Williams as Hostess. 

Anise Ritchie has been with Menopause The Musical® for over 10 years starting in San Francisco and is now touring around the U.S. with the show. She has also performed in many regional theatres throughout the U.S. in such shows as A Little Night Music, The Hunchback of Notre Dame, Big Fish, Smokey Joe’s Café, Showboat, and Little Shop of Horrors. Kathy St. George appeared on Broadway in two productions of Fiddler on the Roof including the Tony Award®-winning revival. Her many Off-Broadway and regional theatre credits include I Love You, You’re Perfect, Now Change, 9 to 5 the Musical, Peter Pan, The Divine Sister, Once, and Gypsy. Melanie Souza recently performed in the National Tour of Menopause The Musical®. She has also performed in many regional theatre productions including In the Heights, Bikinis, Mamma Mia!, Breaking Up is Hard to Do and Sister Act. Roberta B. Wall was part of the original Broadway cast of Sister Act, and Leap of Faith. Her First National Tours include Sister Act, and Beauty and the Beast as Mrs. Potts. Ms. Wall has been performing in Menopause The Musical® since 2003 in cities across the country as both Iowa Housewife and Earth Mother. 

Cindy Williams

Joining the cast as Hostess is Cindy Williams who is most recognized for her role as “Shirley Feeney” in the TV comedy series Laverne and Shirley. She landed her first television roles on Room 222, Nanny and the Professor and Love, American Style.  Her many guest-starring roles include Law And Order: SVU, Seventh Heaven and 8 Simple Rules, The Odd Couple for CBS, A Dream Of Christmas for Hallmark Channel and Sam And Cat for Nickelodeon. Cindy’s stage credits include, the National Tour of Grease playing Miss Lynch, the National Tour of Deathtrap with Elliot Gould, The Female Odd Couple with Jo Anne Worley, Steel Magnolias as Ouiser Boudreaux. She made her Broadway debut in the role of Mrs. Tottendale in the award-winning musical The Drowsy Chaperone in 2007. Her many films include GAS-S-S-S with Talia Shire and Ben Vereen, Travels With My Aunt with Maggie Smith, directed by George Cukor, and The Conversation with Gene Hackman, directed by Francis Ford Coppola and American Graffiti co-starring with Ron Howard, Richard Dreyfuss and Harrison Ford, directed by George Lucas. 

The director for the Ogunquit production of Menopause The Musical® is Seth Greenleaf. He won the Tony Award® for his work on the 50th anniversary production of Who’s Afraid Of Virginia Woolf. A graduate of UCLA’s School of Theatre, Film and Television, his many credits include producing 9 to 5 the Musical on Broadway with Dolly Parton, co-financing the Tony Award® and Olivier Award-winning musicals The Book Of Mormon and Matilda The Musical, and directing the award-winning documentary F(L)AG Football. He currently has The Play That Goes Wrong and The Book Of Mormon running on Broadway; Tina The Musical, Bitter Wheat and SIX running in London; and Fiddler On The Roof and The Play That Goes Wrong on National Tour in the U.S. Three of his productions are currently Broadway bound: The Inheritance begins previews September 27, Tina The Musical begins previews October 12, and SIX begins previews February 13, 2020.

Individual tickets are on sale now. Preview performances start at $36 and economy seats start at $51 each. For tickets visit www.ogunquitplayhouse.org or call the Ogunquit Playhouse Box Office at 207-646-5511.

##

Review: “Little Shop of Horrors” At The Lyric Stage In Boston

Little Shop Of Horrors

At The Lyric Stage 

Will Grow On You

Review: Little Shop of Horrors

Directed by Rachel Bertone

At The Lyric Stage

Copley Square, Boston

Through October 6

lyricstage.com

617.585.5678

Reviewed by Bobby Franklin

Dan Prior, Katrina Z Pavao with Audrey II
Photo: Mark S. Howard

Little Shop Of Horrors, the rock and roll musical based on the 1960 cult film of the same name has shown incredible legs. It first appeared Off-Off-Broadway in 1982, moving to Off-Broadway, and then finally to a full Broadway run. It is as fresh today as it was then. The wonderful score which is based on a combination of Rock and Roll, Motown, and the girl groups of the early 1960s is the kind of music that has audiences tapping their feet and experiencing ear-worms as they leave the theatre.

Little Shop Of Horrors is an ideal musical with which to begin the 45th season at the Lyric Stage in Boston, and it gets the full Lyric treatment from Director/Choreographer Rachel Bertone. Set in Mushnick’s Florist shop on Skid Row in New York, the set, designed by Janie E. Howland, is inviting with various hues of green. Add in Dan Rodriguez as Music Director along with costumes by Marian Bertone and lighting by Franklin Messner Jr and you have a must see production that is nothing short of sensational.

Dan Prior, Remo Airaldi
Photo: Mark S. Howard

Remo Airaldi plays Mr. Mushnik, the florist who is struggling to stay in business while employing two workers, the hapless Seymour Krelborn (Dan Prior) and Audrey (Katrina Z. Pavao). Just when Mushnik is about to close up shop for good, Seymour reveals a “strange and interesting plant” he has been nurturing. The plant is put on display in the window of the flower shop and business begins to boom. There is just one problem; the plant named Audery II by Seymour, has a strange dietary requirement. The Venus Flytrap style vegetation desires human beings rather than houseflies. This all makes for an interesting story that combines Science Fiction and musical comedy all flavored by the 1960’s rock theme. This formula makes for two hours of great fun.

Chiffon (Pier Lamia), Crystal (Lovely Hoffman), and Ronnette (Carla Martinez) perform as a Girl Group version of a Greek Chorus and get things off to a strong start with the title tune. Moving through various homages to the music of the early Rock years, they touch on such memorable groups as the Ronettes and the Supremes. In both shimmering and taffeta dresses that invoke the period, they are outstanding while performing from various spots on the stage including the two balconies, one on each side. The score is well crafted and gives all the flavor of the period while also remaining original. 

Lovely Hoffman, Carla Martinez, Pier Lamia Porter, Katrina Z Pavao, Dan Prior
Photo: Mark S. Howard

Katrina Z. Pavao as Audrey, the sweet girl who has been finding love in all the wrong palces, displays wonderful acting skills along with a singing voice that delights. On Somewhere That’s Green she takes us on a nostalgic trip through the 1950s complete with mentions of Betty Crocker and I Love Lucy. Corny? Not really. Ms Pavao delivers it with a soft warmth that is touching. She brings a depth to her character that transcends the comedy. Yes, she is quite funny, but also a very sympathetic character. It would be easy to play Audrey as a ditz, but Ms Pavao takes it much further and displays wonderful talent. This is her Audrey. 

Audrey is in an abusive relationship with a sadistic dentist (is there any other kind?) played by Jeff Marcus,and a black eye and a broken arm make for some moments that are very dark. Mr. Marcus plays multiple roles and uses many different voices, not an easy task. His rendition of Be A Dentist with backup by Lovely, Crystal, and Ronnette is painfully funny as he describes taking his mother’s career advice; “Son, you have a talent for giving pain, be a dentist”. If you’re an anti-dentite, after seeing the dreaded chair and drill on stage this will only fuel your hatred. Ouch!

Dan Prior, Lovely Hoffman, Carla Martinez, Pier Lamia Porter
Photo: Mark S.Howard

Dan Prior as Seymour fits into his role as if it were a suit tailored especially for him. His timing is perfect, and his interactions with Remo Airaldi’s Mushnik work very well. As usual, Mr. Airaldi does not disappoint. I still remember his terrific performance in last year’s SpeakEasy production of Shakespeare In Love. There is a degree of abuse in the relationship between Mushnik and Seymour as well, and it is that common trait shared by Audrey and Seymour that draws them together.  They both lack in self-esteem and find love as they see the good in each other, and express it in  Suddenly Seymour. It is a touching and sweet number as the two open up to one another.

There is one other character not to be overlooked, a certain plant that eventually takes center stage and has a voracious appetite. Audrey II has four incarnations as the play progresses. The creation of puppet designer Cameron McEachern, Audrey II is simply amazing. Growing from a small potted plant sipping on blood to a full grown man-eating creature, it is a marvel to see. Tim Hoover inhabits the large version and moves it in synch with the words spoken and sung by Yewande Odetoyinbo. 

Katrina Z Pavo and Audrey II
Photo: Mark S. Howard

It is fascinating to watch Mr. McEchern’s creation in action as it swallows people whole.  After the performance I attended had concluded, audience members lined up at the stage to stare at Audrey II who was still on display. The plant that drew spectators to Mushnik Florist had that same pull at the Lyric. People were fascinated by it, I know I was. What a piece of work is this plant.

The Lyric Stage’s Little Shop of Horrors is theatrical perfection from top to bottom. Don’t miss it. I doubt a better production of it has ever been done, nor will there be one to top it in the future. 

“Kinky Boots” Opens At The Ogunquit Playhouse September 18

Hilarious and Heartwarming, Kinky Boots to Open at Ogunquit Playhouse

The winner of six Tony Awards, including Best Musical, Kinky Boots hits the Ogunquit Playhouse stage September 18 through October 27. Featuring a hilarious, uplifting book by four-time Tony winner, Harvey Fierstein and a joyous, Tony-winning score by Cyndi Lauper, the Ogunquit Playhouse production is staged by Nathan Peck, and stars Graham Scott Fleming as Charlie Price, and Kyle Taylor Parker as Lola, with Tony-nominated Scenic Design by David Rockwell and Tony-nominated Costume Design is by Gregg Barnes.

The hit musical is based on the 2005 Miramax film written by Geoff Dean and Tim Firth, and tells the heartwarming story of Charlie Price who has reluctantly inherited his father’s shoe factory, which is on the verge of bankruptcy. Trying to live up to his father’s legacy and save his family business, Charlie finds inspiration in the form of a fabulous entertainer in need of some sturdy stilettos, Lola. As it turns out, Lola is the one person who can help Charlie become the man that he is meant to be. As they work to turn the factory around, this unlikely pair find that they have more in common than they ever dreamed possible… and discover that, when you change your mind about someone, you can change your whole world. This joyous show is sure to have audiences dancing in the aisle and discovering, sometimes, the best way to fit in… is to stand out! 

Graham Fleming

Leading the cast as Charlie Price is Graham Scott Fleming. He portrayed Charlie at the Muny in St. Louis earlier this year, and was nominated for a Dora Award for Best Male Actor in a Musical for his portrayal of Charlie Price in the Canadian production of Kinky Boots. On Broadway he performed in Miss Saigon, and at Papermill Playhouse in My Very Own British Invasion. In addition to Kinky Boots, Mr. Fleming starred in the Canadian premieres of Ghost and Jukebox Hero. 

Kyle Taylor Parker returns to the Ogunquit Playhouse as the fabulous diva, Lola. Last season he performed in the Ogunquit production of Smokey Joe’s Cafe that transferred to New York City, and he continued to perform in the production through its Off-Broadway run. Mr. Parker was in the original Broadway cast, as well as the National Tour of Kinky Boots for which he won an IRNE Award for Best Visiting Actor for his performance. In addition, he performed in Charlie and the Chocolate Factory on Broadway and the National Tour of In the Heights. He was recently featured in NBC’s smash hit Jesus Christ Superstar Live in Concert. At regional theatres he has performed in Dreamgirls, Hair, and the world premiere of My Very Own British Invasion. 

Kyle Taylor Parker

The Ogunquit Playhouse production of Kinky Boots features Joe Coots as Don, Maggie McDowell as Lauren, Ashley North as Nicola, and John Scherer as George. Joe Coots performed in the Ogunquit Playhouse productions of The Full Monty, Crazy for You, and South Pacific. His most recent theater credits include the world premiere of Human Error and the First National Tour of Kinky Boots. Maggie McDowell returns to Ogunquit Playhouse after performing as Marty in 2014’s Grease. She has performed in Kinky Boots on Broadway, in the First National Tour, and at The Muny earlier this year. On Broadway she performed in Disaster!, and Off Broadway in The Marvelous Wonderettes, and Pinklacious. Ashley North joins the cast after recently performing in the National Tour of Kinky Boots. Her many regional theatre credits include Joseph and the Amazing Technicolor Dreamcoat, Hair, and Les Miserables. John Scherer returns to the Ogunquit Playhouse stage where he last appeared in 2001’s 42nd Street as Billy Lawlor. On Broadway he has performed in Lovemusik, By Jeeves, and Sunset Boulevard. His Off-Broadway shows include Olympus On My Mind, Dames At Sea, and Preppies.

Tickets are on sale now. Preview performances start at $36 and economy seats start at $51 each. To learn more about becoming a Playhouse member, or to purchase tickets and gift cards, visit www.ogunquitplayhouse.org or call the Ogunquit Playhouse Box Office at 207-646-5511

“The Stone” Now Playing At Arlekin Players Theatre

ARLEKIN PLAYERS THEATRE REMOUNTS

GERMAN PLAYWRIGHT MARIUS VON MAYENBURG’S 

THE STONE 

New Dates Added September 13 – 29 (performed in English)

“This is our house underneath all this mildew and junk. I know every stone.”

Arlekin Players Theatre will remount German playwright Marius von Mayenburg’sThe

Wolfgang (David Gamarnik) and Hannah (Olga Sokolova).
Photo by Irina Danilova

StoneSeptember 13 – 29 performed in English at their theater at Studio 368 in Needham.  Directed by Arlekin Players Theatre’s Artistic Director Igor Golyak  (Elliot Norton Award-winning A Dead Man’s Diary), the production was performed in Russian by the same cast in May and June. Arlekin will be offering unique pre-show and post-show talks for interested groups. *See the performance schedule below. Tickets range from $45 – $65.  Arlekin will be celebrating its tenth anniversary this year. For more information and tickets, visit arlekinplayers.com or call 617-942-9822.

“It’s a kind of theatre that not only crosses borders but also draws from a number of performance traditions: dance, spoken word, performance art, and modern music arrangement harmoniously intertwine in our performances to create unique and memorable productions.” Igor Golyak, Artistic Director

In 1935, a young couple purchases a house from a Jewish family in Dresden, Germany. The play follows the lives of the house’s residents, who must grapple with their own identity while experiencing the reverberations created by 60 years of German history. As the house is passed from owner to owner, and generation to generation, the secrets buried in the garden and within the walls reveal themselves.

Marius von Mayenburg is a playwright, translator, dramaturg, director and one of the most widely produced German playwrights. Born in Munich in 1972, he studied Old German at University in Munich, before moving to Berlin in 1992, where he did a course in playwriting at the Hochschule der Künste from 1994 to 1998. In 1995 he completed a placement at the Münchner Kammerspiele. In 1998, he became a member of the artistic direction team at the Baracke, the studio theatre of the Deutsches Theater in Berlin. In 1999 he went with Thomas Ostermeier to work as artistic director and playwright-in-residence at the “Berliner Schaubühne am Lehniner Platz”. His plays receive regular staging at Schaubühne/Berlin, Royal Court Theater/London, and other venues around the world.

The Stone Production design team features David R. Gammons(scenographer),Nastya Bugaeva(costume design), Jeff Adelberg(light design),Jakov Jakoulov(original score), Vladimir Gusev(video designer) and an eight-member cast including Jenya Brodskaia (Conductor #1), Misha Tyutyunik(Conductor #2 ),Olga Sokolova(Hannah),Viktoriya Kovalenko(Heidrun),  Darya Denisova (Witha), Rimma Gluzman (Mieze),Anna Kovalenko (Stefanie), and David Gamarnik (Wolfgang).

Arlekin Players Theatre was created in Boston in 2009 and has since toured to New York, Chicago, and Hartford, as well as to several international festivals. Arlekin takes strong pride in their emphasis on self-identity; they are a company of immigrants performing works that play on the ideas of cross-culture, home, and traditions, challenging the idea of nationality, and finding common themes that unite us all. Performances are in Russian, with simultaneous translation into English. The company makes its home in Needham, MA.  For more information, visit www.arlekinplayers.com.

THE STONE Performance Schedule

Sept 13 at 8 pm

Sept 14 at 8 pm

Sept 15 at 3 pm

Sept 20 at 8 pm

Sept 21 at 8 pm

Sept 22 at 3 pm and 7 pm (sold out)

Sept 27 at 8 pm

Sept 28 at 8 pm

Sept 29 at 3 pm

Review: “Kinky Boots” At The Ogunquit Playhouse

Walking In One Another’s Shoes

Kinky Boots At The Ogunquit Playhouse

Kinky Boots

Through October 27

The Ogunquit Playhouse

ogunquitplayhouse.org

207.646.5511

Reviewed by Bobby Franklin

Photo by Gary Ng

Kinky Boots, the smash Broadway hit musical by Harvey Fierstein and with music by Cyndi Lauper, is closing out the Ogunquit Playhouse’s 87th season, and what a way to end the summer. This powerful production is led by Graham Scott Fleming and Kyle Taylor Parker as Charlie and Lola with direction and choreography by Nathan Peck. The sets and costumes from the Broadway production have been brought in and are incredible.

The story about Charlie who has reluctantly taken over his father’s shoe manufacturing factory which has fallen on hard times is one about looking beyond the differences in people’s lifestyles and working toward finding what makes us alike.

Photo by Gary Ng

Graham Scott Fleming brings complexity to the character of Charlie who has been struggling to establish his own identity against the wishes of his father who wants him to take over the factory. This is laid out in the opening number Price & Son. Charlie does not share his father’s love of designing and manufacturing shoes (The Most Beautiful Thing).

Kyle Taylor Parker’s Lola is outrageous and explosive as he takes the stage (The Land of Lola) surrounded by six angels, all men dressed in drag. The costumes and Angels are stunning and very high energy. When Mr. Parker makes the transition from Lola, the flamboyant and exciting drag queen to Simon, his real name, dressed in men’s clothing it is amazing to see the difference in personality. It is also quite touching.

Lola and Charlie have teamed up to start producing women’s shoes for men, a move that has saved the factory but caused tension between some of the workers who are not comfortable working with a drag queen. Charlie also begins to have some issues with this even though he and Lola/Simon have learned they share very similar issues with their fathers (I’m Not My Father’s Son). 

Don (Joe Coots), one of the factory workers, is unable to accept Lola and the tension between the two leads to Lola challenging Don to a contest where each must do one thing requested by the other. This leads to a boxing match, Don’s request, between them (In This Corner). The scene is choreographed beautifully and leads to the pair finding respect for one another. Lola’s request is an interesting one and not what you may think. I’ll leave it at that, but it is moving.

Lauren, played by Maggie McDowell, is also a factory worker who has a crush on Charlie but believes he is out of her reach (The History of Wrong Guys).  Ms McDowell brings a subtle humor to the role that is perfect for the part.

Photo by Gary Ng

George (John Scherer) the factory manager is staid yet able to adapt to the changes that are happening. He is loyal to the Price legacy and is the man behind the man who keeps things together. Mr. Scherer underplays the part just enough while conveying humor and tradition.

Other outstanding numbers include Everybody Say Yeah where boots and dancers cross the stage on conveyor belts. It is original, lively, and exciting. Charlie’s reflection on his struggling with accepting his friendship with Lola and his new business venture is captured beautifully in The Soul of a Man.

Photo by Gary Ng

The finale which is staged as a Milan fashion show with the Angels strutting down the runway in elaborate and colorful costumes while showcasing the new line of boots from Price and Son is incredible. Even Don puts on a pair and struts his stuff.

This is a feel good musical with a very touching story. Everything about this production is tops. It is so strong that I left the theatre feeling a bit drained as energy is flying is all directions. It’s a good way to feel.

I have talked with friends who are planning on going to see Kinky Boots at the Ogunquit Playhouse and they tell me tickets are selling fast. It is playing through October 27, so I would suggest ordering your tickets soon. Ogunquit is lovely this time of the year, and adding Kinky Boots to your visit will guarantee you will have a great time. I have no reservations about recommending this one.

Review: 7 Fingers’ “Passengers” At ArtsEmerson

7 Fingers’ 

Passengers 

At ArtsEmerson

Is Astounding

 

Reviewed by Bobby Franklin

Sereno Aguilar Izzo and Sabine Van Rensburg
Photo Credit: Alexandre Galliez

I am a late arrival to the experience of contemporary circus, and if  Passengers performed by The 7 Fingers now playing at the Emerson Cutler Majestic Theatre is any indication of what I have been missing, I have been making a huge mistake in not attending a performance years ago. I am now hooked and can’t wait to go again.

Presented by ArtsEmerson, this United States premiere is not your father’s big top. Contemporary circus brings the essence of circus combined with dance, music, and a theme that runs throughout the performance. In this case the theme is passengers on a train that can be interpreted different ways, but at bottom it is what the production notes say; “The journey is the destination” and that captures it perfectly.

What I witnessed was astounding. Performances of death defying feats (and I am not exaggerating when I use that term) moving seamlessly from one to another while tapping into a wonderment that at times was mesmerizing. This was mixed with a raw beauty and a celebration of the human body that was breathtaking. 

Freyja Wild
Photo Credit: Cimon Parent

The performance opens with eight performers boarding a train and using their breath to create the sound of the locomotive picking up speed. Rear projections, shadows and silhouettes are used subtly and with great effect. The action moves to each performers’ particular talent while never straying from the theme. Freyja Wild with hula hoops demonstrates an art form I didn’t know existed. Hoops were rolling in from off stage and Ms Wild would catch them with her feet, hands, and arms. She was fascinating to watch.

Sabine Van RensburgPhoto
Credit: Sébastien Lozé

Freyja also plays ukulele and sings a tune entitled Roam about her colleague Sabine Van Rensburg who performs using aerial silks. The song describes the beauty that Sabine creates while climbing high on the gorgeous silks that make her appear to be floating on clouds that she has made. While this is extremely dangerous and physically incredibly challenging, she looks as if she is doing it all effortlessly. I couldn’t help but think of the lines from the poem “High Flight”; “Oh! I have slipped the surly bonds of earth.” as I watched.

Sereno Aguilar Izzo displays a number of talents highlighted by his juggling that is both deeply intricate and humorous. At one point he was tossing about more balls than I could count, catching them in not only his hands, but with the crux of his elbows, chin, and in his shirt. His expressions contained a warmth that was charming and kind.

To a tango/blues version of St. Louis Blues, Sereno and Sabine worked the trapeze. At times the two appeared as one with their bodies connected and arms and legs seeming to be extensions of each other. The musical arraignment was superb as was the performance.

Sereno Aguilar Izzo Juggling
Photo Credit: Alexandre Galliez

Contortionist Maude Parent put on a display that had my tight and aching back envious. What makes this special is she is not performing a feat as much as giving expression with her amazing talent that touches on the beauty and adaptability of the human body. It isn’t so much being an observer of what she was doing as being moved deeply by it.

As with Ms Parent, Brin Schoellkopf’s performance on the tight wire was about grace and balance, something that speaks to us as we strive to lead better lives. This is not to take away from his amazing physical talent but to appreciate how he uses it to convey much more than just the physical.

Conor Wild
Photo Credit: Alexandre Galliez

Conor Wild is a master of the Chinese pole. The smooth metal pole rises high from the center of the stage and Mr. Wild climbs it without any aids. Once at the top he performs moves that make him appear weightless. At times when he is reaching out from the pole with only his leg barely wrapped around it to hold him, he looks free and peaceful.

Towards the conclusion, Louis Joyal and Samuel Renaud give a performance of Russian cradle. Playing on a theme that runs throughout the production, this epitomizes the trust one human will place in another to survive a dangerous challenge. From a platform erected high above the stage, Joyal makes acrobatic flips and leaps into the air trusting Samuel to catch him as he begins to fall. Renaud covers his hands and forearms in rosin for a better grip. The powder drifts into the air. This combined with rear wall projection gives an amazing feeling that was like something out of  scene from an old movie showing the steam from trains at a station.

I have given a rundown of the various parts of Passengers, but it is not a series of acts. Rather, it is an interwoven work that creates an emotional stirring within. It is contemplative, thought provoking, and inspiring. The mixture of theatre, dance, and music with circus performance skills results in an expressive art form unto itself. 

The music is mostly original and the arrangements are excellent. In fact, I have just purchased the score which is a joy to listen to by itself. Lyrics, music, and arrangements are by Colin Gagne in collaboration with Jean-Sebastian LeBlanc, Boogat, Freyj Wild, and Jerome Guilleume. Direction and choreography are by Shana Carroll.

Sereno Aguilar Izzo and Sabine Van Rensburg
Photo Credit: Cimon Parent

I think what I found most impressive, and there was plenty to be impressed by, was that while these talented people were in constant danger of serious injury and even death, I never felt they would get hurt. There were a couple of reasons for this. One was the fact that they were not emphasizing the death defying aspect of what they were doing, but rather the beauty contained in their movements, which were indeed beautiful. The other, and more important part was how they conveyed the trust they had in one another. They had no hesitation at all when leaping, hanging, swinging, or balancing that they would be there for one another. There was a beauty in that display of the human spirit that was deeply moving. I might also add that each had to trust in his and her self; to have the confidence their training, practice, and physical conditioning would carry them through. It is all quite remarkable.

Seeing Passengers is an incredible experience. It is something you most likely will want to see more than once. ArtsEmerson continues to enhance its reputation for bringing the unusual and unique to Boston stages. I look forward to seeing much more in the future.

ArtsEmerson Presents 

7 Fingers

Passengers

Through October 13

Emerson Cutler Majestic Theatre

219 Tremont Street, Boston

617.824.8400

tickets [at] artsemerson [dot] org

Opening: New England Premiere Of “ADMISSIONS” OCTOBER 25 AT SPEAKEASY, Boston

ADMISSIONS
Opens At SpeakEasy Stage Company
October 25

From October 25 to November 30, 2019, SpeakEasy Stage Company will proudly present the New England premiere of ADMISSIONS, the winner of the 2018 Drama Desk Award for Outstanding Play.

From provocative playwright Joshua Harmon, author of Significant Other, Skintight, and Bad Jews, ADMISSIONS is a bold new comedy “of the left, by the left, for the left ̶ for today” (The New York Times). The story centers on Sherri Rosen-Mason and her headmaster husband Bill, who have worked hard for many years to expand the racial diversity of the student body at the small New England prep school where they work. But when their son’s Ivy League dreams are on the line, personal ambition and progressive values collide in this no-holds barred look at privilege, power, and the perils of hypocrisy.

Joshua Harmon’s plays have been produced across the United States at such prestigious regional theaters as Studio Theatre, The Geffen, Actor’s Express, The Magic, and Theater Wit, among others, and internationally in Australia, Canada, Germany, Ireland, Israel, Poland, Russia, South Africa, Sweden, and throughout the U.K. e is a two-time MacDowell fellow, under commission at Manhattan Theatre Club, and an Associate Artist at Roundabout. Mr. Harmon is also a graduate of Juilliard.

SpeakEasy Founder and Producing Artistic Director Paul Daigneault will direct this New England premiere production of ADMISSIONS. Winner of three Elliot Norton Awards including the 2014 Norton Prize for Sustained Excellence, Mr. Daigneault has directed dozens of Boston premieres, including the company’s recent productions of The View Upstairs, The Scottsboro Boys, The Curious Incident of the Dog in the Night-Time, Allegiance, and Fun Home.

The cast is Marianna Bassham, Michael Kaye, Maureen Keiller, Nathan Malin, and Cheryl McMahon.

The design team is Eric Levenson (scenic); Charles Schoonmaker (costumes); Karen Perlow (lighting); and Dewey Dellay (sound).

Stephen MacDonald is the Production Stage Manager. Erica Marie Rabito is the Assistant Stage Manager.

ADMISSIONS will run for six weeks, from October 25 through November 30, 2019, in the Roberts Studio Theatre in the Stanford Calderwood Pavilion at the Boston Center for the Arts, 527 Tremont Street in Boston’s South End.

For tickets or more information, the public is invited to call BostonTheatreScene Ticketing Services at 617.933.8600 or visit www.SpeakEasyStage.com.

“A Christmas Carol” Opens At Trinity Rep, Providence On November 7

TRINITY REP CELEBRATES THE HOLIDAYS WITH 

A CHRISTMAS CAROL 

Trinity Rep is proud to present its annual holiday tradition, A Christmas Carol. Noted for being a new production each year, the 2019 production has been inspired by the senses, with a focus on the sights, sounds, and smells of the holiday season. With an abundance of dancing and singing, this year the production will be directed by Kate Bergstrom. Beloved acting company member Jude Sandy will be playing the role of Ebenezer Scrooge. A Christmas Carol runs November 7 through December 29, with press opening on Tuesday, November 12 at 7:30 pm. Among the ten most-attended productions of A Christmas Carol in America each year, Trinity Rep’s production has become a southern New England tradition, serving over 1.6 million people since its inception more than four decades ago. Last year’s production was the highest-selling show in Trinity Rep’s history. More show details are online at TrinityRep.com/carol. Tickets start at $27 and are available online or by contacting the box office at (401) 351-4242. 

Sensory Friendly Plus! Production

Trinity Rep will continue offering a Sensory-Friendly Plus! performance of A Christmas Carol , on Saturday, November 16 at 2:00 pm. Designed to meet the needs of children and adults on the autism spectrum, and/or individuals with sensory processing disorders or other cognitive disabilities, this performance features modified sound, lighting, and other adjustments. Patrons are invited to make sounds, enter and exit as needed during the performance, and enjoy this holiday tradition with their family and community. 

The Sensory-Friendly Plus! performance features a red warning light that will illuminate before intense sound and light effects, and includes trained ushers in the audience to offer assistance, a social story and plot synopsis sent in advance, and a safe space in the lobby for patrons to return to if they need a break from the performance. More information can be found at TrinityRep.com/sensoryfriendlyplus. 

Resident Acting Company member Jude Sandy had to say of his role as Ebenezer Scrooge, “Playing Scrooge at Trinity Rep has been a dream for me ever since I was a Brown/Trinity Rep graduate student. A lot of my prep, apart from consuming every detail I can of the original story, is thinking about how I can honor Dickens and generations of Trinity Rep audiences and the great performances of my fellow acting company members past and present. I hope to wrap myself up in all that glorious history and communal ownership, and aim to reflect all that rich tradition living in our shared present.” 

Director Kate Bergstrom said of the production, “Part ghost story, part Odyssey, part party like its 1843, I envision this journey as a livening of the senses. With a full-bodied ensemble-driven world, my hope is to uncover and reveal the transcendental magic of generosity and joy implied in Dickens’ call to A Christmas Carol. Telling this story is a quest for magic. Telling this story is a call for redemption, radical compassion, and hope.”

Long-Standing Tradition 

Founding Artistic Director Adrian Hall first added A Christmas Carol to Trinity Rep’s lineup in 1977, just four years after moving into the company’s current home at the Lederer Theater Center on Washington Street. Since then the production has been a holiday staple for generations of families in Southern New England. Trinity Rep’s production is set apart from other holiday productions by the fact that it is re-imagined every year by a new director, cast, and set of designers. 

Cast and Creative Team 

Director Kate Bergstrom, who is a graduate of the Brown/Trinity Rep MFA program in directing will be working alongside Michael Rice (music director), and Taavon Gamble (choreographer). They are joined on the creative team by Patrick Lynch (set design), Olivera Gajic (costume design), Barbara Samuels (lighting design), and Broken Chord (sound design.) In addition to Jude Sandy, Resident Acting Company members Timothy Crowe, Mauro Hantman, Stephen Thorne, and Rachael Warren will take on various roles in the production. They will be joined by third-year students in the Brown/Trinity Rep MFA Acting program including: Danielle Dorfman ‘20, Jack Dryden ‘20, Ricardy Fabre ‘20, Henry Hetz ‘20, Michael Rosas ’20 and Haley Schwartz ‘20. Guest artists AJ Baldwin and Taavon Gamble will join the production. 

The production will also feature a children’s cast comprised of young local actors including: Honesto Aguinaldo (Warwick, RI), Adrian Amaya (Johnston, RI), Lily Butler (Johnston, RI), Anthony Davis (Cumberland, RI), Breyannie Davis (Cumberland, RI), Rylee Donelan (Barrington, RI), Aryielle Jean-Noel (Attleboro, MA), Elizabeth Peart (Providence, RI), Haley Pezza (East Greenwich, RI), Claudia Rufio (Plainville, MA), Vivien Thorne (Lincoln, RI), Warnsey Wiggins, Jr. (West Warwick, RI) 

For more information on the 2019-20 Season, call the box office at (401) 351-4242 or visit Trinity Rep’s website www.TrinityRep.com 

“The Thanksgiving Play” Opens At The Lyric Stage October 18

 The Lyric Stage Presents 

THE THANKSGIVING PLAY

by Larissa FastHorse

Directed by Scott Edmiston

OCTOBER 18 – NOVEMBER 10

 

A Hilarious New Comedy By Larissa FastHorse.

The First Boston Production Of A Play

By An Indigenous American Female Playwright

Thanksgiving, that most American of holidays: when families gather to celebrate the warmth of home, the bounty of the harvest – and a legacy of genocide and violent colonial expansion!

Good intentions collide with absurd assumptions in this wickedly funny satire, as a troupe of terminally “woke” teaching artists scrambles to create a pageant that somehow manages to celebrate both Turkey Day and Native American Heritage Month.

FEATURING: Barlow Adamson, Amanda Collins, Grace Experience, Jesse Hinson.

 Larissa FastHorse (Sicangu Lakota) (Playwright) is an award-winning playwright. Larissa’s produced plays include The Thanksgiving Play (Playwrights Horizons, Artists Rep), What Would Crazy Horse Do? (KCRep, Relative Theatrics), Urban Rez (Cornerstone Theater Company, ASU Gammage, NEFA National tour 2019-20), Landless and Cow Pie Bingo (AlterTheater), Average Family (Children’s Theater Company of Minneapolis), Teaching Disco Squaredancing to Our Elders: a Class Presentation (Native Voices at the Autry), Vanishing Point (Eagle Project,) and Cherokee Family Reunion (Mountainside Theater).

The Lyric Stage, 140 Clarendon Street, Copley Square, Boston, MA  02116. Box Office:  617-585-5678 www.lyricstage.com 

Was The Fix In When Lowry Fought Marciano?

It’s Been 60 Years Since

Tiger Ted Lowry and Rocky Marciano 

First Fought

Controversy Still Hangs Over The Fight

By Bobby Franklin

On October 10, 1949 at the Rhode Island Auditorium in Providence, the up and coming heavyweight prospect Rocky Marciano stepped into the ring with veteran Tiger Ted Lowry. Rocky had won his first 20 fights, 19 by knockout, and was stepping up in class against the cagey and hard hitting Lowry. Ted’s record going into the fight was 63 wins, 49 losses, and 9 draws, but the numbers don’t tell the real story behind what a formidable opponent he was.

Lowry had been fighting since 1942 and had faced many of the best fighters of the time. He had also squared off against champion Joe Louis in an exhibition bout where he more than held his own. He had been stopped only one time in those 121 bouts. He showed no scars on his face, a tribute to his fine defensive skills. His record lists such names as Archie Moore, Lee Oma, Omelio Agramonte, Aaron Wade, and Lee Savold. 

This fight would be Rocky’s first big test against a highly skilled fighter who would be able to extend him. The fight was scheduled for ten rounds, and went the full distance.

3,696 fans showed up, the vast majority were there to cheer on Rocky. As the bell rang for the first round it quickly became apparent this was not going to be an easy night for the kid from Brockton. Lowry stung Marciano at the outset with two right hands, and in the second hurt him with a pair of left uppercuts. Lowry held the upper hand in the 4th round as well when it appeared Rocky was close to being stopped. 

Things changed in the 5th round when Lowry went into a more defensive posture. Some of the fans started booing as they felt Ted was purposely backing off. Had he been told to back off? Perhaps he was tiring. 

At the end of the ten rounds the decision was awarded to Rocky. This did not go over well with the crowd that felt Lowry deserved the win. Of course, when a prospect has been on a roll and has been mowing down every opponent put in front of him, his fans will feel let down when he has a night where he looks less than formidable. 

Out of his 49 fights Rocky only had two that could be called at all controversial decisions. This fight with Lowry and his first bout against Roland LaStarza. In the LaStarza fight Marciano decked Roland at the end of the 4th round. Rocky had the 8th taken away from him because of a penalty for hitting low. One judge had LaStarza winning 5 rounds to 4, while the other judge had it for Marciano by the same margin. The referee had the bout even at 5-5 but gave Rocky the nod on points. The press reported the win as paper thin. This wasn’t so much controversial as it was a very close fight that could have gone either way.

UNITED STATES – JULY 12: Rocky Marciano is victorious over Harry Matthews at Yankee Stadium. (Photo by NY Daily News Archive via Getty Images)

In the Lowry fight it is very possible Rocky got the benefit of the doubt in getting the decision, but the controversy was not so much over the scorecards but rather Lowry’s change of tactics in the fight. Even today it is said either the fix was in or Ted was told to back off when he came to his corner after the 4th round.

To the first accusation, that the fight was fixed. This doesn’t hold up at all. If Lowry had agreed to throw the fight why would he have gone after Rocky so hard in those early rounds, almost stopping him in the 4th? He was obviously going for the win, there can be no doubt about that.

The other theory is that after the 4th round his cornermen told him to back off. The reason supposedly being that certain people had spoken to them during the round and told them it would be bad for their health if Ted kept up the his assault. Could this have happened? Well, it is boxing so anything is possible. 

Ted Lowry never ever said this happened. He felt he deserved the decision, and denied he had been told to back off. He told reporters that after the 4th round Rocky had changed his strategy and he only adapted to that change. He still felt that he won two of the last 5 rounds which, coupled with his strong start entitled him to the win. It must also be noted that Marciano came on strong in those later rounds, a trait he would display throughout his career.

Unfortunately, no film of the fight exists. What really happened? If you look at the rest of Rocky’s career, you will see a number of fights where he did not do well in the early rounds. His matches against Jersey Joe Walcott and Archie Moore are two examples. The Moore bout might be the best one to use when trying to figure out what happened in the Lowry fight.

Against Moore, Rocky was decked in the second round by a thunderous right hand. Moore landed heavily on him and appeared to have the upper hand. However, Marciano got stronger as the fight progressed, and by the 9th round had worn Archie down and stopped him. 

I believe this fight was on the up and up. It is possible that Lowry deserved the decision, but it was not the Brink’s robbery. What was seen that night was the drive that would lead Rocky to go on to win the heavyweight title. 

The two would meet again a year later with Marciano winning a decision. Ted Lowry did not dispute the outcome of the rematch.

It is interesting to note that out of Rocky’s 49 victories, only two could be considered at all close. The win over LaStarza and the first fight with Lowry were close, but in both fights Marciano had a solid claim to victory.

It should also be noted that Ted Lowry was the only man go the distance twice with Rocky, and, with the exception of Ezzard Charles, he fought the most rounds against the Rock. That’s quite the accomplishment.

Review: “Marie And Rosetta” At The Greater Boston Stage Company

The Godmother Of Rock And Roll

Receives The Respect She Is Due

In 

Marie And Rosetta

At The 

Greater Boston Stage Company

Reviewed By Bobby Franklin

Lovely Hoffman
Photo: Nile Scott Studios

Sister Rosetta Tharpe was a major influence on rock and roll music. She was a favorite of Elvis Presley, Little Richard, Jerry Lee Lewis, and many other top names from the early days of rock music. Beginning in 1940 Sister Rosetta began using electric guitar in her Gospel Music performances. Her unique style would influence Chuck Berry and Elvis. Just last year she was inducted into the Rock and Roll Hall of Fame. Still, most people have not heard of her. With the advent of Youtube, videos of her performances are now available for the general public to view. 

In Marie And Rosetta, playwright George Brant has attempted to tell the story of Sister Rosetta Tharpe. This is done by setting the play in a funeral home where Tharpe and her young protege Marie Knight are having their first rehearsal, as they are joining together for upcoming performances. Why a funeral home? The story takes place in 1946 in Mississippi and the Jim Crow South wasn’t exactly accommodating to black performers traveling through the area. Since they could not stay at the local hotels, they were dependent on friends finding them a place to stay. On this night it happened to be a funeral home. Toward the end of the play that symbolism will play into the story.

Lovely Hoffman and Pier Lamia Porter
Photo: Nile Scott Studios

Pier Lamia Porter as Marie and Lovely Hoffman as Sister Rosetta both deliver terrific performances and have amazing voices. Ms Hoffman’s interpretation of Tharpe brings the soul of her being to life at the theatre in Stoneham, MA. This is not impersonation or caricature, but rather an exploration of a dynamic and powerful woman. Accompanied by Marquis Lewis on guitar and musical director Erica Telisnor on piano, (Ms Hoffman and Ms Porter go through the motions on muted instruments) the musical numbers are outstanding.

Pier Lamia Porter and Lovely Hoffman
Photo: Nile Scott Studios

Not all of Sister Rosetta’s hits will be familiar to most audience members, but you will leave the theatre wanting to hear more. From Gospel songs such as Were You There, to This Train, and Didn’t It Rain to the smoking Tall Skinny Papa and rocking Up Above My Head, there is never a dull musical moment. 

Ms Hoffman, who said she grew up in the church (her father was a minister) knows her Gospel music. She, as Sister Rosetta did, is able to combine the spiritual with a rocking and soulful influence to recreate the sound that was at the root of the early rock era. While she is not actually playing the guitar, her movements with it show how much Tharpe influenced the early musicians. I was very much taken with her performance and was left wanting more.

Ms Porter as Marie is at first seen as shy and reluctant to step into the spotlight but quickly gains confidence with Tharpe’s encouragement. Her interpretation of Were You There is marvelous, as was her take on Peace In The Valley. 

Lovely Hoffman and Pier Lamia Porter
Photo: Nile Scott Studios

Both Hoffman and Porter were outstanding when singing together, most notably on Didn’t It Rain, Up Above My Head, and Tall Skinny Papa. The two had just worked together in Little Shop of Horrors at the Lyric Stage and actually began prepping for Marie and Rosetta while still there. If there was any strain with working together through two shows without a break, it didn’t show here.

The music is the strong part of this production, and while Sister Rosetta’s story is a fascinating one, the dialogue gets a bit muddy and drawn out at times. This is not a major flaw and certainly is no reason to pass on this wonderful show. I just wish it had been a bit stronger. I think what is a very good story could be made into a fantastic one with a little touching up. 

The Sister Rosetta Tharpe story is an important one to tell. She is known as the Godmother of Rock and Roll, and is certainly deserving of that title. Seeing Marie and Rosetta at the Greater Boston Stage Company is a fine way to be introduced to this musical legend. As was the case with me, you will find yourself wanting to hear more of her music. You will also want to learn more about this amazing woman who said “I brought a little club to the church, and a little church to the club”.  

I recommend you head up to Stoneham to see this solid and very enjoyable musical play, not only because it is very good, but also because it is important to get to know Sister Rosetta Tharpe. You’ll be glad you did.

Marie And Rosetta

Directed By Pascale Floresta

Though November 10

The Greater Boston Stage Company

In Collaboration With Front Porch Arts Collective

Stoneham, MA

781.279.2200

greaterbostonstage.org 

Review: “Admissions” At The SpeakEasy Production Company, Boston

Talking The Talk

Not Walking The Walk

Admissions 

At SpeakEasy Stage Explores Privilege, Values, Snobbery,

And Hypocrisy

Reviewed by Bobby Franklin

Nathan Malin Photo by Maggie Hall Photography

A few years ago I was watching a news program featuring a story about a successful inner city high school where most of the graduates were going on to college. It was an uplifting story, but one part stuck in my mind to this day. A young African American girl was asked why she wanted to go to college. She responded, “So I can be better than other people.” My heart sank when I heard those words.

In watching Joshua Harmon’s newest play Admissions, now at the SpeakEasy Stage Company in Boston, those words kept echoing in my head. The play which takes place far from the inner city, at a second tier, on the verge of being first tier, prep school in New Hampshire, deals with what happens when white liberals who are in a position of power, in this case expanding minority admissions to the school, talk the talk of making their school more inclusive and diverse and then have to face the reality of walking the walk when it turns out it means giving up their own privilege. 

Sherri Rosen-Mason is the Head of Admissions for Hillcrest Prep School. Her husband Bill is the Headmaster, and their son Charlie is a senior who’s dream has always been to attend Yale. He has worked hard toward that goal and has the grades and test scores to show for it. Things don’t work out as planned when Perry, Charlie’s close friend who is biracial is accepted at Yale while Charlie’s application is deferred. Charlie believes it is his skin color that has made the difference.

Cheryl McMahon and Maureen Keiller
Photo by Maggie Hall Photography

I have seen three of Joshua Harmon’s plays, and he is a master at writing dialog. In the opening scene of Admissions the back and forth between Sherri Rosen-Mason (Maureen Keiller) and Roberta (Cheryl McMahon) who works in development at the school is both funny and telling. Roberta is working on the school catalogue and Sherri is critiquing her work for not showing how racially diverse the school is. It becomes a numbers game about how many students of color attend the school and if they are properly represented in the catalogue. More so, are minority kids made to feel comfortable when perusing it. 

The conversation between the two on who qualifies as black enough becomes awkward for Sherri as Roberta cuts to the quick with just what Sherri is trying to say. While funny, the conversation can also make many in the audience feel uncomfortable as while the goal of being more inclusive is good, the discussion of putting people into boxes based on ethnicity has ugly overtones.

This combination of humor and questioning of values is also evident in Charlie’s diatribe when he confronts his parents about why he wasn’t accepted at Yale. Nathan Malin as Charlie is positively outstanding when he goes on about what he sees as the absurdity of figuring out who qualifies as a minority and who doesn’t.  Sherri and Bill (Michael Kaye) are stunned by what their son has said. Bill, “It looks like we successfully raised a Republican”. Oh! The horror! 

Marianna Bassham and Maureen Keiller
Photo by Maggie Hall Photography

Another awkward moment occurs when Perry’s mother Ginnie (Marianna Bassham) is sharing her joy over her son being accepted to Yale when she realizes Sherri is implying he only made it because of his skin color. Later in the play Ginnie captures the difficulty her son and so many others have to face because many people feel that way. Marianna Bassham is terrific as always.

The part of the play I found most revealing was where Charlie had decided to take things into his own hands and walk the walk that his parents talked, and made his own decision about where to attend college. Bill launches into a revealing screed about how his son will now have to do such low level jobs as “tossing pizzas and bussing tables”. He also can’t contain his disgust for community colleges. It really does all come down to being better than other people. 

While the play is meant to make people look at their own privilege, in this case white privilege, it is about much more than that. No matter how well intentioned people are, when it comes to getting ahead, or having their children get ahead, are they ever going to cede their connections and power to make things happen? 

White liberals will see this play and feel appropriately guilty. But how many of them will be willing to have a minority student take the seat at the table they reserved for their son or daughter? And is that really the solution?

Michael Kaye and Nathan Malin
Photo by Maggie Hall Photography

As with other Speakeasy Productions, I would love to see a more politically diverse audience attend and participate in a discussion. Joshua Harmon knows how to raise questions. He is not afraid to make people uncomfortable, and I would assume this includes himself. And, unlike so many of today’s authors, he does not preach. The audience has to grapple with these questions on their own. 

Sherri’s words are very telling, “If you don’t have a school like a Yale or Harvard on your resume, that actually puts a ceiling on what’s possible in your life. And our son is smart enough to see that. Going to Yale means your life contains all the possibility in the world. Not going there, or one of a handful of schools like it, means there are tables you will never get to sit at, tables whose existence you may never know about.” 

Keeping the table small means always putting limits on what people can achieve. Maybe it’s time to find new places to sit.

While it is easy when hearing about Admissions to put it in a box as a play by and for liberals, it should not be dismissed as such. This is an excellent work and a superb production. The talented cast is outstanding. The set which smoothly transitions from campus office to family kitchen is perfect. No matter your political beliefs, I would strongly urge you to pull up a chair to this table at the SpeakEasy.

Admissions

By Joshua Harmon

Directed by Paul Daigneault

Through November 30

SpeakEasy Stage Company

South End, Boston

speakeasystage.com

617.933.8600

Seaglass Performing Arts Announces Holiday Program

Seaglass Performing Arts Presents

 “On Earth, Peace”

This Holiday Season

As part of the Christmas Prelude program in Kennebunkport, Maine, Seaglass Performing Arts Chorale will be performing a program of music ranging from Gospel Spirituals to Mozart’s Magnificat in C Major. 

This heartfelt expression through music of the desire for Peace on Earth this holiday  season will be performed at South Congregational Church, Temple Street, Kennebunkport, Maine on Saturday December 7 at 7:00 PM, and at the Holy Family Catholic Church, 66 North Ave., Sanford on Sunday December 8, 3 PM.

Tickets at the door are $15 for adults and $12 for seniors and for students ages 12 to 18. Tickets purchased in advance are $12 for everyone ages 12 and up. Children under 12 will be admitted free of charge.

Tickets available online CLICK HERE, at Morse Hardware in Wells, and at the door (cash only at the door).

Dates and locations 

Saturday December 7, 7 PM

South Congregational Church, Temple Street, Kennebunkport, Maine, 04046

Sunday December 8, 3 PM

Holy Family Catholic Church, 66 North Ave., Sanford, Maine, 04073

About Seaglass

Founded in 1993 by Artistic Director Jean Strazdes, the Seaglass Chorale is a non-auditioned adult choral group of 50-60 voices that has established itself as a voice to be heard! The chorale represents some 20 southern Maine communities and regularly performs throughout the area, with concerts in Kennebunk, Kennebunkport, Wells, Sanford, Saco, and other regional venues. We are well supported by our longtime accompanist, Kimberly Karchenes.

Internationally acclaimed, Seaglass Chorale has traveled to Europe twice, performing in Rome, Venice, Innsbruck, and Budapest. In September of 2004, choristers proudly led the musical prelude at the National Cathedral in Washington, DC.

The uniqueness of Seaglass events stems not only from the quality of its performances and the generous response of the community, but from its demonstrated connectivity to the community through its benefit concerts. Benefiting organizations include Habitat for Humanity, St. Thomas School in Sanford, the Sanford/Springvale Food Pantry, York County Shelters, Wells Historical Society, Noble High School, Child Abuse Prevention Council, and many others.

The chorale is often called upon in celebration of such diverse community events as the Nasson College Community Center dedication, Franciscan Monastery Anniversary, Laudholm Farms Building Inaugural, Holy Family Church (Sanford) Jubilee, and the Sanford Mainers baseball team playoffs.

In short, no other regional group integrates more fully in its diversity of intended audiences, music, events, and venues – always with its mission focus of performance opportunities through community service.

 

“A Christmas Carol” Opens At North Shore Music Theatre December 6

NORTH SHORE MUSIC THEATRE PRESENTS

THE 29TH ANNUAL PRODUCTION OF

A CHRISTMAS CAROL

A MUSICAL GHOST STORY

14 PERFORMANCES ONLY

December 6 – 22, 2019 

Bill Hanney’s North Shore Music Theatre (NSMT) will once again present the area’s most beloved production of A CHRISTMAS CAROL This award-winning, original musical adaptation was created solely for North Shore Music Theatre in 1989 and cannot be seen anywhere else. A CHRISTMAS CAROL will play 14 performances from Friday, December 6 thru Sunday, December 22, 2019. 

 

“It is hard to believe we are already at the time of year where we are getting ready to deck the halls and start telling this wonderful holiday story once again,” said NSMT’s owner and producer Bill Hanney. “Every year, I meet so many patrons who look at our production of A Christmas Carol as a cornerstone in their Christmas celebration with their families. Along with their introductions, a patron will almost always let me know immediately how many times they have seen the show, and how many generations of their family have enjoyed it since its first performance in 1989. It is always an honor to produce a show that means so much to so many people.”

 

David Coffee and Cheryl McMahon
(Photo: Paul Lyden)

Based on the Charles Dickens classic, A CHRISTMAS CAROL is an original adaptation by former NSMT Artistic Director Jon Kimbell and members of the NSMT staff, following Ebenezer Scrooge through a series of strange and magical ghostly encounters, where he ultimately discovers the true spirit of the holiday season. With dazzling special effects that have grown even more exciting over time, traditional and original songs, and colorful costumes, A CHRISTMAS CAROL has become a holiday favorite throughout New England having been seen by more than one million people since 1989.

NSMT audience favorite, David Coffee, returns for his twenty-sixth year playing Ebenezer Scrooge. A CHRISTMAS CAROL also features Leigh Barrett (The Ghost of Christmas Past, Mrs. Cratchit), Peter S. Adams (The Ghost of Christmas Present, Gentleman 1), Michael Gaudio (The Ghost of Christmas Yet To Come, Young Scrooge), Alex Puette (Jacob Marley), Tommy Labanaris (Narrator), Russell Garrett (Bob Cratchit), Dale Elston (Pearlie), Drew Porrett (Pearlie), Allsun O’Malley (Belle), Andy Tighe (Fred), Cheryl McMahon (Mrs. Dilber/ Mrs. Fezziwig), J.T. Turner (Mr. Fezziwig/Gentleman 2), Bernie Baldassaro (Ensemble), Michael Brennan (Dick Wilkins, Ensemble) Matthew Chappell (Old Joe, Ensemble), Cecilia Snow (Ensemble), Kate Turner (Meg, Ensemble), and Janelle Yull (Ensemble).

The cast of 27 actors will also feature many local young performers including Jack Baumkind (Tiny Tim), Ciaran Mohan (London Boy), Grace Olah (Belinda Cratchit), Asher Navisky (Peter Cratchit), Amanda Padre (Fan), Dylan Prime (London Boy), AJ Scott (Boy Scrooge), and Emilia Tagliani (Martha Cratchit).

A CHRISTMAS CAROL  performances are December 6 – December 22, 2019 (Evening shows December 6, 7, 13, 14, 15, 20, 21, and 22 at 7:30pm; Matinees December 7, 8, 14, 15, 21 and 22 at 2pm). Tickets can be purchased by calling the North Shore Music Theatre Box Office at (978) 232-7200, via the website at www.nsmt.org or in person at 62 Dunham Road (Route 128, exit 19), Beverly, MA. 

Throughout the run of A CHRISTMAS CAROL NSMT will be collecting toys in the lobby for Tiny Tim’s Toy Drive.  NSMT will be accepting unopened, unwrapped toys for boys and girls ages 2 – 12.  All toys will be donated to Toys for Tots.

ADDITIONAL FREE AUDIENCE ENRICHMENT EVENTS:

OUT at the North Shore, an evening for the LGBTQ+ Community with a post-show reception on Friday, December 13 after the 7:30 pm performance. OUT at the North Shore is sponsored by North Shore Pride.

 

“An Iliad” Returns To ArtsEmerson In Boston

AN ENCORE PERFORMANCE BRINGS DENIS O’HARE BACK TO BOSTON 

ARTSEMERSON PROUDLY PRESENTS 

AN ILIAD 

AWARD-WINNING ADAPTATION OF HOMER’S EPIC POEM RETURNS A HOMER’S COAT PRODUCTION IN ASSOCIATION WITH OCTOPUS THEATRICALS
——
FOUR PERFORMANCES ONLY
NOVEMBER 20 – 24, 2019
EMERSON PARAMOUNT CENTER
ROBERT J. ORCHARD STAGE

Denis O’Hare
Photo: Joan Marcus

Six years after its original Boston run, ArtsEmerson is delighted to welcome back Tony Award-winning actor Denis O’Hare and Lisa Peterson with their Obie Award-winning adaptation of Homer’s classic, An Iliad. 

An Iliad spins the familiar tale of gods and goddesses, undying love and endless battles told through the eyes of a single narrator, whose enigmatic experience of the war reverberates with today’s headlines. Peterson’s acclaimed, cutting edge work as a theatre director here combines with O’Hare’s inimitable range as an actor to create a tour-de-force performance of this sweeping account of humanity’s unshakeable attraction to violence, destruction and chaos. 

A visceral and breathtaking encore performance, An Iliad plays four performances only, November 20 -24, 2019, at the Emerson Paramount Center’s Robert J. Orchard Stage. Tickets may be purchased at www.ArtsEmerson.org, by phone at 617.824.8400 or at the box office.”We are really looking forward to returning to ArtsEmerson, where we built the tour of An Iliad,” says director and Homer’s Coat co-founder Lisa Peterson. “We have very fond memories of the Boston audience.” 

“Denis O’Hare’s performance in An Iliad remains an indelible high-water mark in our first decade, and from the moment the lights went down on his first show at ArtsEmerson we began talking about bringing him back for an encore,” says ArtsEmerson artistic director David Dower. “That was in our third season, and ArtsEmerson has since gone on to establish a reputation for memorable solo storytelling– Daniel Beaty’s Mr. Joy, Melinda Lopez’ Mala, Thaddeus Phillips’ 17 Border Crossings, Alex Alpharoah’s Wet, and Isabella Rosellini’s Green Porno all followed. Denis and director Lisa Peterson delivered a powerful and thoroughly gripping adaptation of Homer’s epic text, and the intimacy and immediacy of the performance itself knocked us out. Our desire to share this experience with a wider Boston audience actually gave rise to the animating idea of our 10th anniversary season– bringing back five iconic moments from our first nine seasons and coupling them with five brand new commissioned works.” 

Tony Canzoneri, Forgotten Great

Tony Canzoneri

Forgotten Great

From The Golden Age Of Boxing

By Bobby Franklin

Tony Canzoneri

I recently did a search on the internet to see what I could learn about the great three title holder Tony Canzoneri. I was quite amazed to see that very little has been written about this man who ranks among the greatest fighters of all time. There is some footage of him on YouTube and quite a few photographs but not much more. 

In 2012 boxing historan Mike Casey wrote a fine tribute about Canzoneri that gave a lot of insight into this interesting man who died at the age of 51. Mike’s well researched piece is definitely worth reading.

Tony Canzoneri, who looked like a cross between Babe Ruth and Edward G. Robinson, was born in Slidell, Louisiana on November 6, 1908. From an early age he wanted to be a boxer and began an amateur career while living there. As a kid he met the great bantamweight champ Kid Herman, and was fascinated by the old boxer.  When he was 14 he and his family moved to New York. It was there that Tony really got down to the business of perfecting his craft.

Canzoneri was a great observer and would watch other fighters and learn from them. He developed his own unique style. Benny Leonard said of Tony that he had a style that could not be copied as it only worked for him, but it made him a great fighter.

Canzoneri and Ross

Tony went on to win world titles in the lightweight and junior welterweight divisions. He was the NBA featherweight champion. During his career he fought 18 world champions and 6 hall of famers. He fought some of the greatest fighters of all time including Kid Chocolate, Barney Ross, Lou Ambers, Jimmy McLarnin, Billy Petrolle, Jackie Kid Berg, Benny Bass, Al Singer, and Bud Taylor. 

In a career spanning 175 fights he was only stopped once, and that was in his last fight when he took on Al Bummy Davis. Considering the opposition he faced, that was a remarkable feat. In fact, his record is awe inspiring. He had 137 wins against just 24 losses with 10 draws. 

Tony Kayos Kid Chocolate

Tony was a tremendous puncher and a great counter puncher. He carried his left hand low in a usually successful ploy to set up his right hand. His jab was powerful. He was a very hard puncher. One example of his power was when he kayoed Kid Chocolate in the 2nd round in 1933. It was the first time the Kid had been kayoed in 100 fights, and only one of two times the great Cuban champion had been stopped in 152 bouts.

Today’s fight fans would probably look at Tony’s record and say he couldn’t have been much of a puncher because knockouts only accounted for 44 of his 137 wins. What they don’t understand is the opposition he was up against. The great fighters of that day were next to impossible to kayo. 

You had opponents of Canzoneri such as  Kid Chocolate who was only stopped twice in 152 fights, Jimmy McLarnin lost only one fight by KO out of 69. There was Lou Ambers, stopped only twice out of 104 fights, and Barney Ross who never lost by stoppage in 79 fights. Benny Bass went through a career consisting of 195 fights and was only stopped twice. 

In that era having a big punch wasn’t enough. You had to know how to box. The great fighters all had great defensive skills, were extremely experienced, and knew how to survive when hurt. In fact, many of them were more dangerous when they were hurt.

I am a great admirer of Roberto Duran and have called him the last of the old school fighters, but I would argue that Tony Canzoneri was as hard, if not a harder puncher than the great Panamanian. If Duran had faced similar opposition his knock out percentage would be much lower.

McLarnin vs Canzoneri 1936

Canzoneri is exciting to watch in action. His fights against Jimmy McLarnin and Lou Ambers which are on YouTube are. Studying these great fighters really forces you to put things into perspective when comparing boxers from the different eras. The subtle moves, the ring savviness, the footwork they exhibit is something to behold.

As Benny Leonard observed, Canzoneri had a very unique style. He could do it all in there. 

In 1939, after fighting for 14 years, Tony hung up the gloves. A string of bad investments and high living left him broke after a few years, but he remained popular with the public and loved talking boxing with his fans. 

Gentleman Tony

Did he have any regrets? In Mike Casey’s article he quotes the Champ as saying, “I often wonder whether it was worth it. But I don’t have to wait long for the answer. Every day strangers stop me in the street and say, ‘Aren’t you Tony Canzoneri?’ Lots of times, little kids who weren’t even a gleam in their father’s eye when I was fighting, ask for autographs or just to shake my hand. It’s a wonderful feeling to be remembered after all these years. Sure it was worth it, every drop of blood and every stitch of it. I wouldn’t have it any other way.”

It’s sad to think how few people recognize his name today. 
https://youtu.be/QeNoqbn6j4E

Great Punchers, Great Boxers

Great Knockout Artists 

Great Defensive Boxers

It Was Hard To Stop These Guys

By Bobby Franklin

Barney Ross

Recently, I wrote about Tony Canzoneri and argued that even though the stats did not show him to have an overabundance of knockouts, I still consider him to be a harder puncher than Roberto Duran. Of course, people will say if he was such a tremendous puncher why didn’t he have more kayos? The answer lies in the competition from the era in which he fought.

I’ve taken a look back at the Ring Magazine rankings of the featherweight, lightweight, and welterweight divisions during the 1930s. I choose these three divisions because many of the contenders in these weight classes fought in all three divisions during their careers. It is an impressive lot.

What is striking is the amount of all time great talent that was competing at the same time in these divisions. Even more striking is the fact that they did not avoid fighting one another. On top of this, it is amazing to read how often they fought and the total number of fights they had over their careers. 

Even more amazing is how rare it was for any of them to be knocked out. You are not looking at the records of fighters who were being fed stiffs. No, these guys were the best and they were consistently fighting the best. When any fighter during that era became a champion, he was truly a champion. Being a ranked contender was a feat in and of itself.

Henry Armstrong vs Fritzie Zivic

So who were these men? Looking through the rankings the names that show up are incredible. Men such as Tony Canzoneri, Lou Ambers, Henry Armstrong, Fritzie Zivic, Charley Burley, Cocoa Kid, Baby Arizmendi, Sammy Angott, Petey Sarron, Ceferino Garcia, Jimmy McLarnin, Holman Williams, Kid Chocolate, Andy Callahan, Sammy Fuller, Billy Petrolle, Teddy Yarosz, Fidel LaBarba, Johnny Jadick, Lou Brouillard, Battling Battalino, Andy Martin, and Louis Kid Kaplan. While there are a lot of names here, it is only a partial list and only includes top ten contenders and champions. There were also dozens of fighters competing on a level just below the top ten who were incredible fighters. After all, in order to get into the top tier a fighter had to wade through those guys. 

Looking at the records of the boxers on the list provides some interesting data. As I have pointed out with Canzoneri, many of these fighters were terrific punchers but did not have stunning knock out percentages the way many of today’s fighters do. Why is that? Because while today’s fighters are being fed a diet of stiffs to build up their records, the fighters from the 30s were fighting each other which meant they were fighting the best talent in the history of the sport. 

Another thing they had going for them is they knew how to practice the art of boxing. They had defensive skills, were highly experienced, knew how to keep calm and were able to fight while hurt. These men were professionals in every sense of the word. Even beyond that, that were highly talented artists and craftsmen. 

Something else to remember when taking their knockout percentages into account is the fact that these men were rarely kayoed themselves. When you have fighters of such high caliber fighting each other the odds of one stopping another go way down. 

Charley Burley

In the list of 23 fighters I have compiled above, they have a combined total record of 3,154 bouts. Out of that huge sum there were only 55 fights where they lost by kayo. Boxers such as Barney Ross, Charley Burley, and Fidel LaBarba were never stopped. Others, such as Teddy Yarosz (127 fights), Lou Brouillard (133 fights), Battling Battalino (88 fights), Sammy Angott (131 fights), Petey Sarron (139 fights), Jimmy McLarnin (69 fights), and Canzoneri (171 fights) were only stopped once. The highest amount of losses for a fighter by kayo was 6. One was Johnny Jadick (6 out of 153 total fights) and the other was Ceferino Garcia (6 out of 120 fights). 

Henry Armstrong had 183 fights and was only stopped twice. One of those was in his first pro fight. He was stopped one other time, by Fritzie Zivic. Zivic had a total of 232 fights and only lost four times by kayo. 

These are astounding numbers, made even more so when you look at the level of competition these men were facing. But if you think more deeply about what was going on, then it isn’t surprising to see these statistics.  

Teddy Yarosz

To begin with, none of these fighters entered the ring assuming they were going to win by knock out. They were always ready to go the distance. They would score a kayo if the opportunity presented itself, which was rare when facing such talented opposition. They also had great defensive skills. Fighting often, as did Canzoneri when he fought 13 times in 1930 alone, they were always sharp. On top of this, when in the gym they were sparring with seasoned pros. They studied the sport and knew it in depth. 

These great fighters also knew how to keep their wits about them in a fight. When hurt the kept their composure. They knew how to tie up an opponent and take time to clear their heads. They also knew not to get wild when they had an opponent hurt as often a hurt fighter could be more dangerous, and getting wild with punches would leave give that opponent an opportunity to land a shot that could turn the fight around.

When comparing fighters from today to the greats of the past it is important to look at more than just knock out percentages. You have to take into account the level of opposition. When you do that there is no comparison. Just spend some time watching these old masters at work and you will see how superior they were. 

“Miracle On 34th Street” To Open At Greater Boston Stage Company

GREATER BOSTON STAGE COMPANY RINGS IN THE HOLIDAYS WITH 

MIRACLE ON 34TH STREET 

Greater Boston Stage Company cheerfully presents Miracle on 34th Street based on the much-loved motion picture from Twentieth Century Fox. Directed by Associate Artistic Director, Ilyse Robbins, Miracle on 34th Street reminds us that if you really believe, anything can happen. Performances run November 29 – December 22, 2019.

“The miracle of 34th street is that people learn to believe – both in oneself and in the kindness of others. It is about faith. Not necessarily in the religious sense, but rather faith in what is possible,” shares Robbins. She continues, “Stories about kindness and goodness are needed now more than ever. There is such importance simply in the telling of stories like these.” 

The cast features Barlow Adamson, Juliet Bowler, Margaret Ann Brady, Sara Coombs, William Gardiner, Sarah Gazdowicz, Arthur Gomez, Jade Guerra, Michael Jennings Mahoney, David Jiles, Jr., Gary Thomas Ng and Emme Shaw. As part of The Young Company Meets Mainstage program, the cast also includes Young Company actors Mia Galego, Shea Killeen, Graham Layton, Addison McWayne, Gwendolyn Symes, Norah Symes and Young Company Alum Stephen Zubricki IV, making his GBSC Mainstage debut. 

Miracle on 34th Street celebrates the season by taking us to Macy’s Thanksgiving Day Parade in the 1940’s where Kris Kringle steps in as a last-minute replacement. When he claims to be the true Santa Claus, he needs to convince the doubters, including a little girl longing to find something to believe in. 

Greater Boston Stage Company is dedicated to fostering an inclusive and accessible environment for all. A sensory-friendly performance of Miracle on 34th Street will be offered on December 21, 2019 at 2:00 pm. The sensory-friendly production will be a performance dedicated to creating a more welcoming space for individuals with sensory-input disorders. There will be modifications throughout the theatre that create a friendly and supportive environment, encouraging patrons to experience the magic of theatre in their own way. Families, friends and caregivers of individuals with sensory-input disorders are also encouraged to attend. Please visit https://www.greaterbostonstage.org/sensory_friendly.html for more information. 

Box Office: (781) 279-2200
Box Office Hours: Mondays – Fridays, 11am to 6pm; Saturdays, 1pm to 6pm Location: 395 Main Street, Stoneham, MA 02180
Website: www.greaterbostonstage.org
  

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“Murder On The Orient Express” Comes To The Lyric Stage In Boston

The Lyric Stage Company Of Boston Presents

Agatha Christie’s

Murder On The Orient Express

Opening November 22

Adapted by Ken Ludwig

Directed by Spiro Veloudos

 Award-Winning Actor Remo Airaldi

Takes on the Role of Hercule Poirot

With a Cast of Boston Favorites.

Performed in a witty new adaption by Ken Ludwig (Lend Me a Tenor),

Written expressly at the request of the Agatha Christie estate.

Just after midnight, a snow storm stops the Orient Express in its tracks. The famous train is full, minus one passenger — an American tycoon lies dead in his compartment, his door locked from the inside. Director Spiro Veloudos has assembled a locomotive full of suspects – all with an alibi.

It’s the perfect mystery for none other than famed detective Hercule Poirot, n’est-ce pas?

Featuring: Remo Airaldi, Michael John Ciszewski, Scot Colford, Sarah deLima, Kerry Dowling, Marge Dunn, Will McGarrahan, Davron S. Monroe, Celeste Oliva, Rosa Procaccino the production will run from November 22 through December 22 at the Lyric stage at 140 Clarendon St., Copley Square, Boston.

Box Office: 617.585.5678 Website: lyricstage.com 

Ogunquit Playhouse Production Of “Annie”Comes To The Music Hall, Portsmouth, NH

An All-Star Cast to Perform in the Ogunquit Playhouse
Holiday Production of Annie at The Music Hall in Portsmouth, New Hampshire

The Music Hall and Ogunquit Playhouse are thrilled to announce the cast and creative team of the beloved musical Annie, on stage November 27 through December 22 at The Music Hall in Portsmouth, New Hampshire. The Music Hall is located at The Historic Theatre, 28 Chestnut Street, Portsmouth, NH.

Annie is the story of a spunky, red-headed orphan who lands a holiday stay with Oliver “Daddy” Warbucks, a billionaire trying to do good. This delightful musical has become a worldwide phenomenon and is the winner of seven Tony Awards, including Best Musical. The acclaimed book and score by Tony Award-winners Thomas Meehan, Charles Strouse, and Martin Charnin feature some of the greatest musical theatre hits ever written, including “Tomorrow.”

The Ogunquit Playhouse production is helmed by Broadway Director/Choreographer James A. Rocco. Leading the all-star cast are Josie Todd as Annie, Emmy nominee Robert Newman as Oliver Warbucks, Golden Globe and Emmy winner Sally Struthers as Miss Hannigan, and Broadway veterans Angie Schworer as Lily St. Regis, Jeffry Denman as Rooster Hannigan, and Gail Bennett as Grace Farrell.

Starring as the lead character Annie is Josie Todd who is making her Ogunquit Playhouse debut. She recently performed in Because of Winn Dixie at Goodspeed Musicals and Annie at Casa Mañana. Her many theatre roles include Beauty and the Beast as Chip, The Music Man as Gracie Shinn, The Best Christmas Pageant Ever as Maxine, and Freaky Friday, Jr. as Monica. 

Joining the cast as Oliver Warbucks is Robert Newman who is perhaps best known for his 28-year run as Joshua Lewis on the longest running program in broadcasting history, Guiding Light.(which he also directed).

Sally Struthers returns to the seacoast to reprise her role as Miss Hannigan. Ms. Struthers is a two-time Emmy Award and Golden Globe Award winner for her performance in the groundbreaking TV series All in the Family.

Ogunquit Playhouse is thrilled to welcome Gail Bennett back to the stage in the role of Grace Farrell. Ms. Bennett has performed in the Ogunquit productions of My Fair Lady as Eliza Doolittle opposite Jefferson Mays, The Sound of Music as Maria opposite Rex Smith, and as the title role in Mary Poppins on both the Ogunquit and The Music Hall stages.

Joining the cast as Rooster is Jeffry Denman who has performed, directed, and choreographed at Ogunquit Playhouse. He returns to the seacoast after directing/choreographing the highly acclaimed Ogunquit Playhouse 2018 production of An American in Paris, for which he won an IRNE award as Best Choreographer.

 Rescue dog, Macy, will be playing Sandy. Macy was adopted by guardian and trainer Bill Berloni from Rocky Spot Rescue of Oklahoma City, OK in December of 2009 at the age of 18 months after seeing her on Petfinder.com. Sandy’s first production of Annie was in the summer of 2010 and since she has starred in dozens of productions nationwide. On Thanksgiving Day 2011, she was seen on NBC during The National Dog Show, sharing spots with John O’Hurley.

Bill Berloni is the top recognized trainer for theatrical animals in the U.S. He received a Tony Award for Excellence in Theatre in 2011, honoring his 30 years of rescuing shelter dogs and humanely training them for a career in the entertainment industry. He is also the recipient of 2014 Outer Critics Circle Special Achievement Award and the 2017 Drama League Award for Unique Contribution to the Theater. Bill Berloni’s animals have appeared in hundreds of Broadway, Off-Broadway and regional theatre productions, tours, movies and television shows all starting with Annie in 1977. 

Box Office Hours and Info

Monday – Saturday, 12pm – 6pm

28 Chestnut Street – Portsmouth, NH 03801

(603) 436-2400

www.themusichall.org 

Review: “An Iliad” ArtsEmerson

The Anger of Achilles

An Iliad

At Emerson Paramount Center 

Through November 24

Reviewed by Bobby Franklin

Denis O’Hare
Photo by Joan Marcus

The other night I saw An Iliad at the Emerson Paramount Center. Presented by ArtsEmerson, this modern take on Homer’s Iliad is funny, stirring, and thought provoking. Written by Lisa Peterson and Denis O’Hare, it is directed by Ms Peterson and stars Mr. O’Hare. 

It first played in Boston the weekend after the Marathon bombings and has now been brought back for a very limited engagement. 

In approximately 100 minutes, Denis O’Hare accompanied by Eleonore Oppenheim on bass, tells the story of the Trojan War and the endless saga of man’s attraction to war and addiction to power. Mr. O’Hare is a dynamo on the stage while Ms Oppenheim adds mood and sound effects that beautifully enhance the performance.

There is a lot packed into this production, and you may feel a bit lost at moments, but you will never be bored and you will be moved. As time is running short, rather than have you spend time on more of my take on it I suggest you head over to the Paramount and see for it yourself. You’d better hurry though as there are only two performances left. Saturday at 8:00 P.M. and Sunday at 2:00 P.M.

An Iliad

Presented by ArtsEmerson In Association With Homer’s Coat

The Emerson Paramount Center

559 Washington Street, Boston

617.824.8400  artsemerson.org

Review: “Annie” At The Music Hall In Portsmouth, NH

Leapin’ Lizards!

The Ogunquit Playhouse Production Of

Annie

Is Great Fun At The Music Hall

In Portsmouth

Reviewed by Bobby Franklin

Josie Todd as Annie and Macy as Sandy
Photo By Gary Ng

The Ogunquit Playhouse has been closed down for the winter, but the season is not quite over. Ogunquit’s Executive Artistic Director Brad Kenney has joined forces with Patricia Lynch who is the Executive Director of The Music Hall in Portsmouth, New Hampshire to bring a lovely holiday gift to New England theatre goers. That gift is the superb production of the musical Annie playing at the Music Hall through December 22.

Directed and choreographed by Jamie Rocco, Annie is running on all cylinders on the stage of the magnificent Historic Theater in Portsmouth. Just stepping into this beautifully restored Victorian Era theater is a breathtaking experience. Even before the curtain goes up it is impossible not to be impressed by the surroundings. And once the orchestra starts playing the overture and the actors first take to the stage it all comes together for a wonderful night of theatre

Annie first appeared on Broadway in 1977 and has lost none of its charm over the years and through many revivals. The Ogunquit Playhouse version  playing in Portsmouth has been freshened up a bit while retaining its original score and still brings smiles to the faces of the audience while tugging at the heartstrings. 
ring that dream with a very lucky audience.

This production of Annie is flawless and rivals anything you will see on Broadway. It is a top notch production that should not be missed.

Josie Todd as Annie, the orphan who sets out to find her birth parents, is feisty and lovable. She leads the other orphans in great renditions of Maybe and It’s A Hard Knock Life and takes it to the top with Tomorrow. I would imagine this is a dream role for Ms Todd and she is sharing that dream with a very lucky audience.

The orphans at the Municipal Girls Orphanage run by Miss Hannigan are played by an ensemble of young actors who are excellently choreographed and get to really show their talents in the number You’re Never Really Dressed Without A Smile. Each and every one of them performed like experienced Broadway performers.

Robert Newman brings an Oliver “Daddy” Warbucks to the stage who shows the strength and drive that made him a billionaire while conveying the warm heart that is melted by his relationship with Annie. Mr. Newman’s version of Something Was Missing is touching and lovely. 

I last saw Gail Bennett in the 2014 production of Mary Poppins at the Ogunquit Playhouse. In Annie she is cast as Grace Farrell the personal assistant of Oliver Warbucks. It was a pleasure to see her on the stage again.

Josie Todd (Annie), Robert Newman (Daddy Warbucks), and Cast
Photo by Julia Russell

The scene recreating a 1930’s radio broadcast where Oliver Warbucks takes to the air offering a reward to find the birth parents of Annie, it is filled with nostalgia. Kevin McMahon plays host Bert Healy wearing a straw hat and accompanied by a ventriloquist with a dummy, and a sound effects man (Trent Kidd) There is also an Andrews Sisters style singing group the Boylan Sisters (Karen Largerberg, Zina Ellis, and Kym Chambers Otto). The program revolves around the song You’re Never Fully Dressed Without A Smile. It is all set in a recreated radio station. There is quite an enjoyable tap-dancing number performed by the sound effects man using  wooden shoes on a table. 

Cast of Annie
Photo by Gary Ng

This wonderful cast has another member who is truly unforgettable; Sally Struthers reprising her role as Miss Hannigan. It is more than a bit ironic that Ms Struthers who has spent her life advocating for children would be playing a character who runs an orphanage as if it were a prison. In the number Little Girls she is very funny while displaying her dislike of the children by manipulating a doll in a rather sociopathic manner. It is a scene that was suggested by Ms Struthers and could only be pulled off by her.

Sally Struthers is a regular at the Ogunquit Playhouse every year and never disappoints. In her role as Miss Hannigan she outdoes herself. I’ve mentioned it before but must do so again in saying that she has a knack for comedic timing that is rarely seen. Her pauses and glances at the audience induce laughter every time. Ms Struthers also shows what a true professional she is by never attempting to steal scenes from the other actors. She works well with everyone. Of course, she is working with a cast that is deeply talented and all enhance one another.

Ms Struthers is at her character’s conniving best when plotting with her younger brother Rooster (Jeffry Denman) and his girlfriend Lily St. Regis (Angie Schworer). They are all wickedly funny.

What would Annie be without her dog Sandy who is played by rescue dog Macy. Macy comes close to stealing the show and captures the hearts of the audience with her beautiful eyes. She was an orphan in real life so it is only fitting she has a role in this play about orphans.

Set during the Great Depression the story has many references to figures of that era and includes a scene with Franklin D. Roosevelt (Doug Carfrae) and his cabinet joining Annie in singing Tomorrow. I’m not sure how many young audience members will be familiar with the names of these confidantes of FDR as well as the references to figures of the day such as Harpo Marx, Jack Dempsey, Babe Ruth, Bernard Baruch, Herbert Hoover, and Fiorello LaGuardia, but not knowing them takes nothing away from the enjoyment. Mr. Carfrae is returning to the Ogunquit Playhouse after an absence of a mere 46 years. He still has it!

In the spirit of the season the play closes with a beautiful Christmas party. This combined with the festive decorations in the theatre and then stepping out to the streets of Portsmouth to breath in the Christmas Season is a delightful experience.

This production of Annie is flawless and rivals anything you will see on Broadway. It is a top notch production that should not be missed. I highly recommend you take in a performance. It’s a wonderful coda to this year’s Ogunquit Playhouse season. 

Many people give up on the coast of northern New England after summer, but by doing so they are missing out on a very beautiful time of the year.

Ogunquit Playhouse’s Annie at the Music Hall in Portsmouth is just the recipe for getting into the holiday spirit. You’ll leave the theatre filled with the Christmas Spirit that will have the biggest Scrooges smiling. Head north, see Annie, enjoy Portsmouth, and then continue on to Ogunquit and the many other places that put the joy in this time of the year. You’ll be glad you did.

Annie

Though December 22

The Music Hall at the Historic Theatre

28 Chestnut Street,

Portsmouth, NH

603.436.2400 themusichall.org 

Hypothetical Matchup, Foreman vs Johansson

Thor’s Hammer

And Foreman’s Fatal Flaw

How Would Johansson Do Against Big George?

By Bobby Franklin

Ingo and Machen

Recently I wrote a column asking how well the second tier heavyweight champions would do when matched up with some of the greats when their different styles are taken into consideration. After all, even some of the best have problems with a less talented opponent because a certain technique can cause even the best difficulties. Ali always had major problems with Ken Norton, a fighter who was far from an all time great. 

While it is safe to assume the greats would have beaten the not so greats, it is interesting to try and find matchups where an upset could have occurred. 

Recently I’ve been thinking about a hypothetical matchup between Champions George Foreman and Ingemar Johansson. Johansson has never been considered an all time great, while there are many who would rank Foreman in the top ten greatest. In my opinion George is not an all time great and does not have the record to put him in the lofty company of Dempsey, Louis, Tunney, Marciano, Johnson, and Ali. But seeing that so many boxing fans do consider him to be one of the best I thought it would be interesting to consider how he would do against the Swede with the monstrous right hand.

While I believe Foreman is very overrated as a fighter, I also believe Ingo deserves more credit than he gets. George fought an incredible number of stiffs on his way up in contrast to Ingo who never faced an opponent who had a losing record. In fact, going into the first Frazier fight Foreman’s opponents had a collective record of 100 wins with 355 losses, and 48 draws. 

By contrast, going into his first title fight against Patterson, Ingo’s opposition had a collective record of 466 wins, 150 losses, and 43 draws. Quite a difference. On top of that, Johansson had some notable names among his wins. These included Joe Bygraves, Henry Cooper, Joe Erskine, Archie McBride, and most impressive of all, his destruction of Eddie Machen in one round. Machen was undefeated and the number one contender at the time and would go on to fight a prime Sonny Liston, taking the future champ the full twelve rounds while losing a very close decision. 

The most notable wins on Foreman’s record leading to to the Frazier fight were over George Chuvalo and two victories over blown up light heavyweight Gregorio Peralta who gave George all he could handle over almost 20 rounds of fighting.

The two most impressive wins in Foreman’s career part one were his victory over Frazier, though while impressive has to be considered in the light of Frazier being a shot fighter at that point in his career, and his blow out of Ken Norton. He was outsmarted by Ali and Jimmy Young, and struggled to defeat Ron Lyle in an exciting fight but not one where great boxing skills were on display.

Beyond their records it is important to contrast their styles to figure out how they would do against one another. It is here where I see Ingo being able to pull out the win. George had a serious flaw that only got worse as his career progressed. It was this flaw that would have played into Johansson’s strength.

Foreman Displaying His Fatal Flaw Against Ali. Reaching Out With Both Arms.

Early in Foreman’s career he had either gotten some instruction in parrying blows or he picked up the idea from watching footage of great defensive fighters such as Jack Johnson and Gene Tunney. The problem is, George never learned how to do it correctly. Instead of catching his opponents punches with an open hand when the fists came close to him, he would reach out and try to stop them just as they were being thrown. In doing this he also dropped his hands while his arms were extended. This left his chin exposed. Peralta, Ali, and Young all used that defect to great effect in countering Foreman. It is also the reason Lyle was able to deck him so many times. It was a very amateurish move that he never got over, in fact it got even worse as his career went on. It is also the reason any one of the great champs, and even many of the second tier ones would have beaten him. It is the reason I could not rate him as an all-time great. 

Foreman’s Flaw On Display Again

Going into a fight against Foreman, Johansson would have been very conscious of this flaw and would have exploited it. Ingo was a thinking fighter. He was quick on his feet, looked for openings, feinted well, had a tremendously powerful right hand, and knew how to set up an opponent.

In the first Patterson fight he used his left jab in a flicking manner that was employed to block Floyd’s vision so he would not see the right hand coming. The strategy worked perfectly as he destroyed Patterson and won the title. 

Ingo’s fatal flaw came outside of the ring. After winning the title he became quite the celebrity. He made the rounds of televisions shows where he would joke and sing. He loved the nightlife and his training took a back seat to the jet setter lifestyle he was living. It was this behavior that cost him the title.

In the Foreman/Johansson fight Johansson would not be a stationary target for the ponderous Foreman. Ingo, who was quite fleet of foot would be circling big George and feinting him with the jab. As he employed these feints Foreman would begin reaching out with his arms, just as Johansson would expect. This would go on for a few rounds as the Swede found the range and George became frustrated and would begin to tire. Being a patient boxer, Ingo would wait until George started pawing and reaching with both arms. At that point he would hit George with his hammer of Thor. If George got up after being floored by the punch he would get even more sloppy as he did with Lyle. Ingo, unlike Lyle, would not get wild but would continue to measure Foreman for the followup punches and would finish him off. In my opinion this would happen around the 7th or 8th rounds.

Of course, as with all of these hypothetical matchups, it is impossible to know what would have happened. The benefit of thinking these fights through is it forces you to think more deeply about the abilities of these fighters. If you had asked me a couple of years ago who I thought would win between George and Ingo I wouldn’t have blinked and gone with Foreman. However, now that I have taken the time to analyze both fighters more closely having written about each, my mind has been changed.

Wishing Sally Struthers A Speedy Recovery As Ruth Gottschall Steps In To Play Miss Hannigan In Annie At The Music Hall In Portsmouth, NH

Ruth Gottschall to Step Into the Role of Miss Hannigan in the
Ogunquit Playhouse Holiday Production of Annie at The Music Hall

Ruth Gottschall

Broadway’s Ruth Gottschall has returned to the seacoast to step into the role of Miss Hannigan in the Ogunquit Playhouse production of Annie now on stage at The Music Hall in Portsmouth, New Hampshire. Ms. Gottschall replaces Sally Struthers who is recovering from surgery for a broken leg which was caused by a fall on an ice covered walkway earlier this week following the recent snow storms. Ms. Gottschall will take the stage the week of December 9, and through the end of the run.

“Our Dear Sally will need to step out of Annie for the rest of the run to get herself back on her feet. But she will be nearby – so don’t be surprised if you see her sneak in to watch to the show! We are grateful that Sally is resting comfortably and feeling great right now. While we will miss her very much in this role, we want her to continue to rest and to enjoy time with her family and friends over the holidays. We of course look forward to welcoming Sally to our stage in 2020. With Sally’s blessing, the Ogunquit Playhouse is thrilled to announce that Ruth Gottschall, the brilliant Broadway actress who delighted Ogunquit audiences this past summer in Agatha Christie’s Murder On The Orient Express, has arrived in Ogunquit to take over the role of Miss Hannigan,” stated Executive Artistic Director Bradford Kenney.

Ms. Gottschall made her Ogunquit Playhouse debut as Helen Hubbard this past summer in the critically acclaimed mystery, Agatha Christie’s Murder on the Orient Express. On Broadway she has performed in Mary Poppins, The Music Man, Laughing Room Only, Cabaret, and The Best Little Whorehouse in Texas among others. At regional theatres she has portrayed Aunt Eller in Pittsburgh CLO’s Oklahoma!, Maggie in Bucks County Playhouse’s 42nd Street, and Mrs. Tottendale in Goodspeed Opera House’s The Drowsy Chaperone.

Annie is on stage now through December 22 at The Music Hall in Portsmouth, New Hampshire. Annie is the story of a spunky, red-headed orphan who lands a holiday stay with Oliver “Daddy” Warbucks, a billionaire trying to do good. This delightful musical has become a worldwide phenomenon and is the winner of seven Tony Awards, including Best Musical. The acclaimed book and score by Tony Award-winners Thomas Meehan, Charles Strouse, and Martin Charnin feature some of the greatest musical theatre hits ever written, including “Tomorrow.”

The Ogunquit Playhouse production is helmed by Broadway Director/Choreographer James A. Rocco. The cast includes Josie Todd as Annie, Emmy nominee Robert Newman as Oliver Warbucks, and Broadway veterans Angie Schworer as Lily St. Regis, Jeffry Denman as Rooster Hannigan, and Gail Bennett as Grace Farrell.

To purchase tickets call The Music Hall box office at 603-436-2300 or visit TheMusicHall.org. 

“Irving Berlin’s White Christmas” Opens At The Boch Center Wang Theatre December 17

 

 Irving Berlin’s White Christmas

Comes To  The Boch Center Wang Theatre

December 17 Through December 29

Starring

David Elder, Kerry Conte, 

Jeremy Benton, and Kelly Sheehan

 Featuring Conrad John Schuck As The General, 

And Reprising The Role Of Martha Watson, Lorna Luft 

 

The producers of IRVING BERLIN’S WHITE CHRISTMAS, the stage adaptation of the beloved classic film, have announced casting for the upcoming National Tour, coming to the Boch Center Wang Theatre December 17 – 29, 2019.

The 2019 season will star David Elder as “Bob Wallace,” Jeremy Benton as “Phil Davis,” Kerry Conte as “Betty Haynes,” and Kelly Sheehan as “Judy Haynes.”  Also featured are Conrad John Schuck as “General Waverly,” Lorna Luft as “Martha Watson,” Brad Frenette as “Ralph Sheldrake,” Danny Gardner as “Mike Nulty,” and Cliff Bemis as “Ezekiel Foster.” Additionally, Emma Grace Berardelli and Kyla Carter will be reprising their role of “Susan Waverly.” 

Rounding out the cast of returning cast members are Darien Crago, Sarah Fagan, Drew Humphrey, Bryan Thomas Hunt, Brianna LaTrash, Stephanie Brooks Martin, Chris McNiff, Daniel Plimpton, Kristyn Pope, Sean Quinn, and Karilyn Ashley Surratt. Additional new cast members for the 2019 season include Lamont Brown, Kimberly Immanuel, Tina Johnson, Kristie Kerwin, and Chris Shin. 

IRVING BERLIN’S WHITE CHRISTMAS tells the story of a song-and-dance team putting on a show in a magical Vermont inn who fall for a stunning sister act in the process. Full of dancing, laughter and some of the greatest songs ever written, including “Count Your Blessings Instead of Sheep,” “Happy Holiday,” “Sisters,” “Blue Skies,” and the unforgettable title song, Irving Berlin’s “White Christmas.”

The New York Times exclaims “this cozy trip down memory lane should be put on your wish list.” And, the New York Daily News hailed IRVING BERLIN’S WHITE CHRISTMAS as “a holiday card come to life.”

IRVING BERLIN’S WHITE CHRISTMAS features music and lyrics by Irving Berlin with book by David Ives and Paul Blake and is based upon the Paramount Pictures film written for the screen by Norman Krasna, Norman Panama and Melvin Frank

Tickets are available at the Boch Center Box Office,  www.bochcenter.org, by calling 800-982-ARTS (2787), and via Ticketmaster or by calling 866-348-9738.

Greater Boston Stage Company Partners With Christmas In The City To Collect New Toys For Needy Families

JOIN GREATER BOSTON STAGE COMPANY AND BE ONE OF SANTA’S HELPERS 

Greater Boston Stage Company is committed to giving back to the community as it celebrates its 20th Anniversary Season. As part of this promise, GBSC is partnering with Christmas in the City during the run of Miracle on 34th Street to make the holidays a little brighter. 

From November 29th through December 19th, 2019 Greater Boston Stage Company will be collecting new toys to donate to Christmas in the City so that they can pull off a miracle of their own: providing thousands of toys to needy families in the Greater Boston area. 

Share some holiday happiness with kids who could use a little extra comfort and joy. Bring your donation of a new toy to the Griffin Museum Gallery attached to the theater and put it under the tree. Your gift and your generosity are truly appreciated. 

Christmas in the City is a 100% volunteer non-profit that since 1989 has been dedicated to helping relieve the impact of homelessness and poverty on Boston-area children and their families.
Learn more: christmasinthecity.org 

And while you’re here… stay for the show! Based on the much-loved motion picture from Twentieth Century Fox, Miracle on 34th Street reminds us that if you really believe, anything can happen. Miracle on 34th Street celebrates the season by taking us to Macy’s Thanksgiving Day Parade in the 1940’s where a gentleman named Kris Kringle steps in as a last-minute replacement for Santa. When he claims to be the true Santa Claus, he needs to convince the doubters, including a little girl longing to find something to believe in. Directed by Associate Artistic Director, Ilyse Robbins runs from November 29 – December 22, 2019. For more information or to purchase tickets, call the Box Office at Greater Boston Stage Company at (781) 279-2200, or visit www.greaterbostonstage.org.   

Greater Boston Stage Company is dedicated to fostering an inclusive and accessible environment for all. A sensory-friendly performance of Miracle on 34th Street will be offered on December 21, 2019 at 2:00pm. The sensory-friendly production will be a performance dedicated to creating a more welcoming space for individuals with sensory-input disorders. There will be modifications throughout the theatre that create a friendly and supportive environment, encouraging patrons to experience the magic of theatre in their own way. Families, friends and caregivers of individuals with sensory-input disorders are also encouraged to attend. Please visit https://www.greaterbostonstage.org/sensory_friendly.html for more information. 

 

Review: “Irving Berlin’s White Christmas” At The Boch Center Wang Theatre, Boston

Irving Berlin’s White Christmas 

Is A Dream 

At The Boch Center Wang Theater

Reviewed by Bobby Franklin

White Christmas now playing at the Boch Center Wang Theatre in Boston is based on the 1954 movie of the same name. The story of two WWII veterans and Army buddies, Bob Wallace and Phil Davis who form a musical act after the war and, at the urging of Phil, start pursuing love interests Betty and Judy Haynes is corny, formulaic, and great fun. 

During the course of catching up with Betty and Judy, who are also performing as musical artists the Haynes Sisters, they end up at the Columbia Inn in Vermont run by their former Commanding Officer General Waverly. The inn is failing, and well, you can figure out the rest. 

What is wonderful about musicals like this is they are a perfect showcase for the amazing music taken from the Great American Songbook, in this case the songs of Irving Berlin; tunes such as Count Your Blessings Instead Of Sheep, I Love A Piano, Let Me Sing And I’m Happy, and Blue Skies. It is also, as the title reminds us, Christmas Season and Mr. Berlin wrote many of the Christmas songs that have become standards. Along with the title number these include Happy Holidays, Snow, and I’ve Got My Love To Keep Me Warm.

Blue Skies

The huge stage of the Wang Center can be overwhelming, and at first I thought the players were going to be lost in their surroundings. However, their powerful performances and the beautiful scenery prove large enough to fill their surrounding and more. Blue Skies performed by David Elder as Bob Davis along with the chorus all dressed in white and  set against a  background of sky blue with wisps of clouds was food for the eyes while the singing and dancing were spectacular. 

Kerry Conte and Kelly Sheehan as the Haynes Sisters are delightful while performing the number Sisters, a song that is later reprised by Bob and Phil in a bit of  twist. There is great chemistry among the four actors both when all together and when paired off separately. 

Judy and Phil

Phil played by Jeremy Benton sings one of Berlin’s best songs I Love A Piano while dancing atop a small grand piano. He is joined by Judy and the pair perform a tap dance routine while seated on the piano with their feet hitting the stage. It is innovative and received a well deserved round of applause.

Bob and Betty bring tenderness to Count Your Blessings, a song that is not only appropriate for the Christmas Season, but one that delivers a message we should all take to heart each and every day.

Judy performs How Deep Is The Ocean set at the Regency Room in New York City. Here is where that large stage really works. Judy is joined by Phil as they sing and dance under a beautiful chandelier and are surrounded by gorgeous white draperies. 

The set designs adapted by Kenneth Foy from the 2009 production sets designed by Anna Louizos are breathtaking. The colors vivid and warm are marvelous. The scenes at the inn capture what it feels like to be in New England at Christmastime. I don’t want to give away the ending, but I can assure you that you’ll be in awe at what you see.

Lorna Luft

Lorna Luft plays Martha Watson the manager of the Columbia Inn in Vermont. When she sings Let Me Sing And I’m Happy it is impossible not to think of her mother Judy Garland, but she is not performing an imitation of her famous mother. Ms Luft is a consummate stage professional who can not only sing beautifully but also has tremendous stage presence and exquisite timing. 

Conrad John Schuck as General Henry Waverly is a cross between George Patton and General George C. Marshall, proud, firm, and tender. In the performance I attended Kyla Carter played Susan, the granddaughter of General Waverly. (The role is alternated with Emma Grace Berardelli). Ms Carter was impressive when she reprised Let Me Sing And I’m Happy. It must have been a bit intimidating to be performing the number in front of Lorna

Kyla Carter, Conrad John Schuck, and Lorna Luft

Luft just minutes after Ms Luft had sung it, but Ms Carter was poised and powerful. 

The character of Ezekiel Foster has few words, but his “ayuhs”, high waisted pants, cigar, and facial expressions are subtle and very funny. Cliff Bemis originated the role and is on the stage here in Boston. It takes on even more meaning to native New Englanders. Is he good? Ayuh!

Director and choreographer Randy Skinner has put the large stage to good use, keeping it open and vast on numbers such as Blue Skies, while using the scenery to shrink it a bit and frame scenes tastefully such as the ones at the inn. 

This is a big production with a full orchestra and very large cast. Irving Berlin’s White Christmas is just the thing to make you forget about your troubles and become filled with the joy and spirit of Christmas. Great music, great talent, and great scenery on a great big stage is just the ticket for a great night of theatre.  This should be a part of any Christmas celebration in Boston.

Irving Berlin’s White Christmas 

Directed and Choreographed by Randy Skinner

The Boch Center Wang Theatre, 270 Tremont Street, Boston

Through December 29

bochcenter.org 

Can Boxing Be  Made Less Dangerous?

Can Boxing Be 

Made Less Dangerous?

By Bobby Franklin

Jerry Quarry

Recently, I watched a news story from 1995 about heavyweight contender Jerry Quarry. The very popular Quarry who had twice fought Muhammad Ali and Joe Frazier was being inducted into the International Boxing Hall Of Fame. This was considered a great honor and Jerry was there to bask in the glory. Well, he wasn’t exactly there. While his body was, his mind was no longer working, and the formerly very articulate Quarry was in such bad condition he was unable to sign autographs without the assistance of his brother James. 

It was heartbreaking watching this footage. Not only was Jerry unable to sign his name he also needed assistance dressing himself. When asked questions he just stared off into space. This is something you might see in an elderly person who is suffering from Alzheimer’s Disease, but Jerry Quarry was far from elderly; he was only fifty years old. He would be dead in less than three years. He was also broke.

Seven years after his passing, Jerry’s brother Mike would die from the same disease. Mike was only 55 and had been suffering for many years. At the time the cause was called boxing induced dementia. For years it had been confused with Alzheimer’s Disease, but it is quite different. Today, it is known as CTE (Chronic Traumatic Encephalopathy). It is caused by trauma to the head and is most common in boxing and football. It has also been found in military combat veterans, soccer players, ice hockey players, and victims of domestic violence.

Unfortunately, a true diagnosis cannot be ascertained until after death, when the brain can be dissected and studied closely. Dr. Ann McKee, Director of The Boston University CTE Center, has led the research into this terrible affliction. Doctors are becoming aware of the importance of looking at symptoms and patient history so as to be able to differentiate between Alzheimer’s and CTE. 

Paul Pender

In 2003, after former Middleweight Champion Paul Pender passed away from what was thought to be complications related to Alzheimer’s Disease,  his widow Rose asked to have Paul’s brain examined by Dr. McKee. Rose was concerned that if it was Alzheimer’s it could be genetically passed on to their children. The results showed no signs of the beta-amyloid protein found in Alzheimer’s but did show clumps of Tau Protein which is now known to form because of repeated blows to the head. The hits do not have to cause concussions as the damage is cumulative. Also, the younger the athlete when the head trauma begins, the higher the risk of developing CTE. In Pender’s case the damage may have begun while he was playing high school football.

Thanks to the courage of Rose Pender and the dogged research of Ann McKee and others, much is being learned about this terrible disease. I highly recommend the documentary “The Brain of a Boxer” which delves into the story of Paul Pender and Rose’s search for an answer to why her husband suffered so. The tragic part about this is how it is very preventable and how little is being done to stop it from happening.  

Jerry And Mike Quarry

In recent years I have had a number of conversations with people who love boxing but also are very conflicted because of the injuries caused to those who partake in it. These conversations usually circle around how to make the sport less dangerous. To be sure, there are things that can be done to lessen the danger, but seeing as the whole point of the sport is to inflict injury to the opponent’s brain it is unlikely, short of not allowing head blows, to stop participants from ending up victims to CTE. 

While it is true not all athletes who participate in contact sports will end up suffering from CTE, the risk is very high that a large number of them will. In the early years of the 20th Century President Theodore Roosevelt intervened when severe injuries and deaths were mounting in college football. There were calls to abolish the game. At TR’s urging, the rules were changed and football became safer. It is once again very dangerous, but rule changes could improve things. That is not likely in boxing as there is no way for the sport to be practiced without imposing head injuries. Rendering the opponent unconscious is the point of the sport and the thing that most excites the fans. 

Ali At Joe Frazier’s Funeral

The Quarry brothers are just one of many examples of boxers who have ended up suffering from the blows they received years earlier in the ring. Former heavyweight champions Floyd Patterson and Ingemar Johansson both were diagnosed with pugilistica dementia when they died. Mickey Walker and Sugar Ray Robinson, two of the greatest fighters of all time, also had it. And most ironic of all was Muhammad Ali, a man who used to brag that he would never end up like the others. He  was perhaps the biggest victim of the sport. It is a myth that he would have been fine if it hadn’t been for Parkinson’s Disease. Ali, like the Quarrys, began boxing at an early age and stayed in the sport long after his skills had eroded. In the last decades of his life his mind and body succumbed to the punishment he took. One of the most gifted athletes in history ended up physically and mentally destroyed by the sport he so loved.

Everyday we face danger. Crossing the street and driving a car can lead to severe injury or death. However, unless one is crazy, we take precautions when doing these things. We also don’t do these things with the intent of causing harm to others. In boxing, while there may be some precautions taken, the aim is to cause injury. There’s just no getting around that. 

Years ago it was thought people watched auto racing because they wanted to see the crashes. It was found out that wasn’t sure. People watched because they enjoyed witnessing the skill of the drivers and the roar of the cars. When it comes to boxing, fans show up to see the accidents. 


Trailer: The Brain of a Boxer from Felice Leeds on Vimeo.

Lynn Nottage’s “Sweat” Opening At The Huntington Theatre January 31. Now Extended Through March 1

Huntington Theatre Company has announced the extension of the Boston premiere of the Pulitzer Prize-winning drama Sweat.  Due to high ticket demand, this “breathtakingly timely” (The Wall Street Journal), Tony Award-nominated play by two-time Pulitzer Prize winner Lynn Nottage and directed by Kimberly Senior (The Niceties at the Huntington, Disgraced on Broadway) will now run at the Huntington Avenue Theatre, 264 Huntington Avenue, Boston from Friday, January 31, 2020 through Sunday, March 1, 2020.
 
Five new performances have been added; the dates are Thursday, February 27 at 7:30pm; Friday, February 28 at 8pm; Saturday February 29 at 2pm and 8pm; and Sunday, March 1 at 2pm.

Hailed as “a gripping play with humor and humanity” by Time Out New York, Sweat is based on playwright Lynn Nottage’s interviews with residents of Reading, Pennsylvania.

The play chronicles years in the lives of a group of friends from this working-class community who are struggling to stay connected as the local factory industry, which has employed them for generations, crumbles. In a neighborhood bar, each of them reaches for their piece of the American dream while their friendships are put to the test. Nottage weaves a tale of trust and doubt, longtime bonds and short-term possibilities. The New York Times raves “Superb…Nottage is writing at the peak of her powers.”
 
Sweat was first performed at the Oregon Shakespeare Festival in 2015, the following year it opened Off-Broadway at The Public Theater and transferred to Broadway at the beginning of 2017. After a run on Broadway, numerous regional productions throughout the United States and a stop at London’s West End, Sweat comes to Boston in this moving and urgently relevant new production.

Kimberly Senior (The Niceties and the upcoming, Our Daughters Like Pillars at the Huntington) takes the reigns of this play that The New Yorker designated “the first theatrical landmark of the Trump era” at the beginning of what could be our nation’s most important presidential election year in history.

As previously announced, the cast of Sweat features (in alphabetical order) Tyla Abercrumbie (Magnolia at the Goodman Theatre, Showtime’s “The Chi”) as Cynthia, Norton Award winner Marianna Bassham (Yerma and Romeo and Juliet at the Huntington) as Jessie, Norton Award winner Brandon G. Green (An Octoroon at Company One, The Scottsboro Boys at SpeakEasy Stage Company) as Chris, Shane Kenyon (Buzzer at the Goodman Theatre, Hushabye at Steppenwolf Theatre Company) as Jason, Norton Award winner Maurice Emmanuel Parent (Romeo and Juliet, Skeleton Crew at the Huntington) as Evan, Jennifer Regan (Who’s Afraid of Virginia Woolf on Broadway, How I Learned to Drive at Second Stage Theatre) as Tracey, Tommy Rivera-Vega (A View from the Bridge at Teatro Vista, Three Sisters at Steppenwolf Theatre Company) as Oscar and Guy van Swearingen (The Time of Your Life and Taking Care at Steppenwolf Theatre Company) as Stan. Actor Alvin Keith (Cat on a Hot Tin Roof on Broadway, Novenas for a Lost Hospital at Rattlestick Playwrights Theater) joins the cast as Brucie.

The creative team for Sweat includes set design by Cameron Anderson (Yerma and The Niceties at the Huntington), costume design by Junghyun Georgia Lee (Tiger Style!, Smart People at the Huntington), lighting design by D.M. Wood (The Niceties at the Huntington, 4.48 Psychosis at the Royal Opera House), fight direction by Ted Hewlett (Quixote Nuevo and Yerma at the Huntington), and sound design and composition by Pornchanok Kanchanabanca (Skylight at the McCarter Theater, The Curious Incident of the Dog in the Night-Time at Steppenwolf Theatre Company). The production stage manager is Emily F. McMullen and stage manager is Kelsy Durkin and Sam Layco.

What: Sweat by Lynn Nottage
When: January 31 through March 1, 2020
Where: The Huntington Theatre, 264 Huntington Ave., Boston
How: In person at the Huntington Avenue Theatre Box Office, 264 Huntington Ave. and the Calderwood Pavilion at the BCA Box Office, 527 Tremont St. in Boston’s South End.
By phone: 617.266.0800
On Line: huntingtontheatre.org

GREATER BOSTON STAGE COMPANY PRESENTS THE WORLD PREMIERE OF “SWAN LAKE IN BLUE: A JAZZ BALLET”

 

Greater Boston Stage Company is proud to announce the World Premiere Dance Event Swan Lake in Blue: A Jazz Ballet, created and composed by renowned jazz musician and composer Steve Bass. Choreographed and staged by GBSC Associate Artistic Director and multiple IRNE and Elliot Norton Award Winner Ilyse Robbins, Swan Lake in Blue: A Jazz Ballet is inspired by and loosely based on Tchaikovsky’s masterpiece, Swan Lake. 

Featuring big band jazz music as well as a company of tap and jazz dancers, Swan Lake in Blue: A Jazz Ballet tells the story of a Broadway producer who falls madly in love with a burlesque dancer, Odette. He then discovers that she is under the control of a terrible mob boss and is being forced to perform nightly at The Swan Club. Passion, betrayal and mistaken identities ensue—will Odette fly away from her past or stay caged forever? 

Choreographer Ilyse Robbins is a celebrated tap dancer, having danced with tap legend Gregory Hines. She has won IRNE awards for Best Choreographer for Dames at Sea, How to Succeed in Business…, and 42nd Street, among others. She is thrilled to be staging to Bass’ creation. “This production is the perfect complement to GBSC’s commitment to telling familiar stories in fresh new ways,” says Robbins. 

Composer and creator Steve Bass says of the Premiere, “Jazz was my first musical love, and I’ve also always loved tap dance. This piece is ballet at its core— storytelling though dance and instrumental music—and I have replaced the classical orchestra with a jazz big band and replaced the ballet dancers with tap, jazz, and lyrical dancers. The idea was to have something that looked and sounded much closer to a Broadway musical, but with no words—a Jazz Ballet. I immediately knew I wanted to base it on Tchaikovsky’s Swan Lake and I began adapting the classic fairy tale into a 1940s New York City setting.” 

Cast Members:

SARA COOMBS (Odette/Odile) is an actress/choreographer/teaching artist based in NYC. As a performer, she was most recently seen on the GBSC stage as Doris Walker in Miracle on 34th Street. Other GBSC credits include: 42nd Street, Thoroughly Modern Millie, Dames at Sea, She Loves Me and Being Earnest. She has choreographed Off-Broadway shows, national tours, and many musicals in regional theatres. Sara is a member as well as thechoreographer of Manhattan Shuffle: NYC’s Premiere Song and Tap Trio – manhattanshuffle.com. With over 15 years of teaching experience, Sara has taught tap dance and theatre at Broadway Dance Center, Peridance Capezio Center in NYC, and at multiple theaters throughout New England. She holds a B.F.A in Musical Theatre from The Boston Conservatory. Instagram: @coombaloo 

Andy McLeavey and Sara Coombs
Photo Credit: Nile Scott Studios

ANDY MCLEAVY (Florenz Siegfried) – is thrilled to return to GBSC having previously appeared as Billy Lawlor in 42nd Street. A few of his favorite credits include Antipholus of Ephesus in Boys From Syracuse (Commonwealth Shakespeare Company/Boston Landmarks Orchestra), Jimmy in Thoroughly Modern Millie (Merry-Go-Round Playhouse/Rev Theatre & Reagle Music Theatre), Pat Denning/Dancer in 42nd Street (Atlantic City’s Tropicana Casino), George in Goldilocks (NYC’s Opening Doors Theatre Company), Gaston in Beauty and the Beast (Company Theatre), On The 20th Century w/Alice Ripley, and Carousel w/Shirley Jones. Andy is proud to have sung the national anthem multiple times at Mohegan Sun Arena, McCoy Stadium, and the Ryan Center. He also loves teaching Zumba & Tap, as well as singing and songwriting under the nickname “Andy Macktastic”. Andy is a former joke writer for SomeEcards.com. Instagram: @andymacktasticmusic 

 

 

What: Swan Lake In Blue: A Jazz Ballet

Where: Greater Boston Stage Company, 395 Main Street, Stoneham, MA

When: February 15 through March 1

How: Box Office: (781) 279-2200

Website: www.greaterbostonstage.org
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Review: “The Cake” At The Lyric Stage In Boston

The Cake

Nobody Has The Corner On Self Righteousness 

Reviewed By Bobby Franklin

Karen MacDonald

I almost declined the invitation to review The Cake, now playing at the Lyric stage in Boston. Many works today are taking on societal issues, and getting people to think about what is going on around them while being more open to listening to the views of others is a good thing. It is healthy when we challenge ourselves and our, very often, deeply held views. It doesn’t mean we will necessarily change them, but understanding where others are coming from and why they feel the way they do helps to prevent us from putting up walls between one another and feeling anger. As hard as it is to believe, we can actually get along with people with whom we disagree. 

The problem with much theatre that I attend today is that it is self righteous. Instead of posing questions that will make us consider other views, many of the works I see tend to preach, and worse, demand that the audience members fall in line with a particular view point. I have received press packages that are filled with materials that all but tell me what I am supposed to feel about the play and about myself. Frankly, I find this insulting and disrespectful. It is also counterproductive. 

Kris Sidberry and Chelsea Diehl
Photo: Mark S. Howard

This used to be rare, but it is becoming too common today probably due to the polarizing times we live in. One exception to this is Ayad Akhtar’s The Who & The What that played at The Huntington Theatre in 2017 and dealt with the issues facing a Muslim family living in America. It was thought provoking but not preachy. Mr. Akhtar has said “Advocacy is not art, it’s advertising”. I couldn’t agree more.

In The Cake, author Bekah Brunstetter takes a similar approach. The play is about a gay couple living in New York, Jen (Chelsea Diehl) and Macy (Kris Sidberry), who have traveled to Jen’s original home in North Carolina where they plan to get married. Jen wants the ceremony to take place in the same venue where her parents were wed. Her mother has passed on but it is apparent she is looking for acceptance as she can not know, but does suspect, how her mother would feel about this. 

The play opens at Della’s Sweets, a bakery run by Della (Karen MacDonald) who was close to Jen’s mother and has known Jen since she was little. Della is very excited about having become a contestant on The Great American Bake Off, and is describing what it takes to make a good cake. Jen wants Della to bake the wedding cake for her and Macy. Macy arrives at the shop ahead of her and engages Della in conversation. 

At this point it all seems to be very predictable; the dumb and bigoted hick will respond with hate and disgust at the request while the enlightened couple will be both victim and moral superiors to the backward folks living down south. That is not at all how this plays.

Karen MacDonald and Chelsea Diehl
Photo: Mark S. Howard

Ms Brunstetter shows empathy for all of the characters and allows that many issues are not that cut and dried. In a twist, Macy turns out to be the self righteous one who has no room for differing views, while Della is willing to face the conflicts she faces with her beliefs. It is refreshing to see a Southern Evangelical treated with respect. And while Della is willing to question herself, Macy is very judgmental and believes “If you don’t want to be a bigot you have to think like me”. 

Jen is the most conflicted as she had been close to Della and was brought up in the same cultural environment. It is clear that Della is a mother figure to her. Having Della bake the cake for the wedding is important to her, but Jen is also understanding, while hurt, when Della makes excuses for not doing so. Della is also feeling pain as she loves Jen. There is a lot of emotional conflict here that spills over into the relationship between Macy, who grew up in New York, and Jen.

Fred Sullivan,Jr. and Karen MacDonald
Photo: Mark S. Howard

Karen MacDonald is perfect as Della, a woman without an inch of hate in her heart but views that are considered backwards, and even hateful, by big city liberals. Tim (Fred Sullivan, Jr)., Della’s husband, is a plumber. This is where I felt things could fall apart as the stereotype so often portrayed of white working class men is not usually flattering. While Tim is set in his ways, he is also a decent man who deeply loves Della. He also enjoys mashed potatoes which makes for a very funny scene, but you will have to see the play to find out what that is all about.

The interactions between Macy and Jen as well as between Della and Tim are both insightful into why they believe the things they do and what they believe about others. It is this hard facts back and forth that occurs between Della and Jen that really digs into the conflicted feelings they both are dealing with as well as a way to start understanding each other. 

Chelsea Diehl digs deep down into Jen emotions, those of a woman with a foot in two cultures. Jen does not agree with Della, but she understands her, while Della’s moral code precludes her from baking the cake, her heart tells her it is good that the little girl she has always loved has found someone she is in love with. They truly care for each other.

Chelsea Diehl and Kris Sidberry
Photo: Mark S. Howard

The one fault I found with the play is in the character of Macy. Kris Sidberry gives us a character that is so certain of her beliefs that she has an almost religious fervor about them, and many of us will recognize that person; the take no prisoner true believer. However, by the time the play moves to where the characters are beginning to find common ground it is too little too late for Macy. She has done something particularly cruel that gets brushed off and shouldn’t. And though she finds some common ground toward the play’s end, her journey there is not fully developed.

The Cake may involve a baker and the choice not to bake a cake for the wedding of a gay couple, but it is not about the right or wrong of making that choice. This is a play about how listening, and more importantly, treating one another with respect is the way to finding a way to understand one another. A way not to react with hate at that with which we do not agree. That goes for all people. 

This is a sweet play baked with warmth and humor about people being, for the most part, kind and understanding of one another without having to compromise their beliefs. This is not a dig in your heels political diatribe, but rather a thoughtful look at how we are all human, and of how we really can get along. The Cake is refreshing and delicious and is certainly worthy of being tasted.

The Cake

Directed By Courtney O’Connor

Through February 9

The Lyric Stage, Copley Square, Boston

617.585.5678

lyricstage.comR

Why Did Marciano Retire?

It Has Been Sixty-Four Years Since Rocky’s Last Fight

His Battle Against Archie Moore May Have Influenced His Decision To Hang Up The Gloves

By Bobby Franklin

This past September 21st marked the 64th anniversary of Rocky Marciano’s last fight, his winning defense of the title against Light Heavyweight Champion Archie Moore. The following April at the age of 32 Marciano announced his retirement from the ring stating: “I am retiring because of my wife and baby. No man can say what he will do in the future, but barring poverty, the ring has seen the last of me. I am comfortably fixed, and I am not afraid of the future.”

At the time of his retirement Rocky had a perfect record of 49 and 0 and would be the only heavyweight champion to retire with an undefeated record, a feat that still stands to this day.

Most boxing fans expected the champion to go for the 50th win and were surprised when he didn’t. So, is it true he retired to spend more time with his family, or was there more to it?

The Marciano vs Moore fight drew a crowd 61,574 to Yankee stadium with a gate grossing $948,117.95. Rocky’s share was $482,374.00. That is the equivalent of $4,289,456.00 in today’s dollars. Even deducting for his manager Al Weill taking a huge cut, that was still a very healthy sum of money. Combine it with the Rock’s previous earnings and it would appear he was very comfortable financially. 

It has been said that Marciano no longer wanted to fight because he believed Al Weill was taking too much of his money. While that is most likely true, it seems that some other financial arrangement could have been worked out. 

As far as spending time with his family, after retirement Rocky continued to travel, mostly without his wife, and enjoyed being on his own. I don’t buy the retirement was for family reasons.

Moore vs Marciano

I think the key to figuring out why Marciano stopped at 49 is to look at the Moore fight. While Rocky stopped the Old Mongoose in the 9th round, it was a grueling fight in which the champion took some terrible shots. Could it be that he felt he was starting to decline and did what hardly any fighter does, get out while on top? 

I asked noted boxing historian Mike Silver, the author of The Arc of Boxing what he thought. Mike replied: 

“Next to his title winning effort against Walcott this was Marciano’s toughest contest.  Moore landed some humongous punches to Rocky’s chin. During the course of the fight Marciano absorbed some of the hardest punches he had ever taken. He had to throw more punches per round than in any other fight in order to overwhelm Moore’s superior skill and experience. In a great fight it was Rocky’s chin, conditioning, relentless punching and almost superhuman durability that won it for him, but I wonder if the punishment he took in that fight helped convince him to retire while he still had his health?”

Archie Moore vs Rocky Marciano

After hearing what Mike had to say I watched a tape of the fight and it was indeed a very tough fight for Rocky. After a somewhat tame first round Moore came out and dropped Marciano at the beginning of the second with a right hand flush on the chin. Rocky was up at the count of four but was dazed. He took a lot of punishment for the rest of the round. Moore was using shoulder feints and landing very well with his left jab. It looked like Marciano was in serious danger of losing the title. By the end of the round the champion was bleeding from the nose and was cut and puffy under his left eye. 

In round three Marciano came out very aggressively throwing a lot of punches. Moore, ever the master boxer, was avoiding most of them by blocking, slipping, and rolling with the shots. 

In the third round Moore fought mostly off the ropes. Mike Silver points out that this was no Rope-a-Dope strategy. Instead, Archie was slipping and countering Rocky’s shots. Marciano threw a much larger number of punches but Moore had the more effective shots. Rocky won the round with his aggression but he paid a high price for it. 

The fifth round was Moore’s best. He was very accurate with his jab and landed a number of solid rights while taking short steps to the side. Marciano appeared to be slowing down and was missing a lot. It now appeared the tide was turning in Moore’s favor. 

Marciano must have been sensing the same thing as he came out on fire in the sixth round. He dropped Moore for a count of four at the beginning of the round and then pursued him relentlessly. Rocky was still missing with many of his punches, but the pressure and huge number of punches he was throwing was wearing Archie down. Rocky was like a freight train as he dropped Moore once again, this time for a nine count.

Between rounds the doctor checked on Moore and it appeared the fight was close to being stopped. But the old warrior was not through yet.

Moore actually looked refreshed as he came out for the seventh round and won the round with a strong jab. Perhaps Rocky had punched himself out in the previous round and the tide was again shifting. 

In the eighth round Moore’s legs were tiring. He spent most of the round fighting off of the ropes and was still very effective in making the champion miss. Watching Moore in this fight is like seeing a master class on how to roll with punches and pick spots for counters. Moore was definitely starting to fade by the end of the round. It was Rocky’s relentless pressure that was taking the toll. A Marciano right at the end of the round dropped Moore and he was up at the count of six as the bell rang. Moore’s right eye was now closing and he looked like a beaten man. Could he summon up another rally?

Marciano vs Moore

In the fatal ninth round Moore once again came out strong, but the end was near. Rocky attacked with a fury. Moore still got in a few good shots, but nothing was going to stop Rocky now. He pummeled Moore to the canvas where Archie took the ten count at 1:19 of the round. 

Moore did everything right in this fight. He boxed and punched beautifully. He seemed the superior fighter in so many ways, but Marciano would not be stopped. His incredible conditioning, heart, and brutal punching were all too much for Archie. Marciano defined what the heart of a champion is in this fight.

Mike Silver asks if it was the punishment Rocky took in this fight that convinced him to retire? I believe that was a major reason for his hanging up the gloves, and I do not mean this as a knock on Marciano. Quite the contrary, I believe it shows how smart he was. 

Marciano was a tremendously physical fighter. While his boxing abilities are often underrated, he was also almost superhuman when in the ring. The Moore fight is an example of how he would actually get stronger as a fight progressed. It seemed as though the rougher things got the more strength he would gain. Rocky trained very hard for each fight. The training grind and the brutality of the fights he was in would eventually take a toll. At this point in his career he was also experiencing back pain. 

It is not unusual for an athlete that continually pushes himself to the brink to eventually start to break down physically. It is very possible the Moore fight was Rocky’s last great fight. If he had continued, his body may have begun to fail him. I think he may have sensed that, perhaps subconsciously. Moore hurt him. Moore extended him. Moore did everything possible to beat him, but Rocky was relentless. He broke Archie down that night. 

Rocky Hangs Up The Gloves

Marciano had been fighting professionally since 1947. He was now 32 years old, not terribly old for a fighter. But when you consider how many tough fights he had and how many times he had tortured his body in training camp you have to wonder if at some point he would start to break down. 

In the Moore fight he pushed himself unbelievably. I don’t think Archie could have stopped him if he had a bazooka in his arsenal. Rocky fought many very tough fights. His two goes against Ezzard Charles and he first fight with Walcott were both brutal affairs. It’s very possible he still had a couple more great fights in him, but at some point he would have broken down; all great athletes do. 

Rocky Marciano had an amazing career, made a lot of money, and now was walking away with his brains still in tact. He will always be remembered as one of the greatest Heavyweight Champions of all time. Knowing when to retire is a lesson that too few fighters have learned. Rocky was wise enough to get out in time, and that adds to his greatness.
https://youtu.be/kK0YRFu_tE8

“Detroit Red” Opens At ArtsEmerson

BEFORE HE WAS MALCOLM X, 

HE WAS DETROIT RED ARTSEMERSON PROUDLY PRESENTS 

THE WORLD PREMIERE OF 

DETROIT RED 

A WILL POWER AND ARTSEMERSON PRODUCTION 

FEBRUARY 01 – 16, 2020
EMERSON PARAMOUNT CENTER ROBERT J. ORCHARD STAGE

Will Power
Photo Credit: Adam A. Anderson

ArtsEmerson is thrilled to announce the World Premiere of Detroit Red by internationally renowned playwright Will Power. This theatrical exploration of the life of Malcolm X as he dwelled and came of age in the Roxbury section of Boston, plays the Emerson Paramount Center Robert J. Orchard Stage February 01 – 16, 2020. 

The world forever knows him as Malcolm X, but when he lived in Roxbury, he was dubbed “Detroit Red.” Will Power, along with director Lee Sunday Evans, shine a light on a pivotal coming-of-age moment in the celebrated, controversial civil rights leader’s life in this world premiere piece. Boxed in by race and class in 1940’s Boston, “Detroit Red” (Eric Berryman) transformed from a rowdy teenager into a street hustler. Detroit Red vividly brings this world to life, depicting a brutally honest, human portrayal of the future activist as he navigates the criminal underworld, taking the first steps in his quest to define the type of man he would eventually become. 

A potent, heart-wrenching deconstruction of a future American hero in turmoil, Detroit Red features three shape-shifting actors who create a deeply dramatic and surprisingly funny theatrical experience. The production offers a radical take on traditional theater, illuminating an iconic African-American figure and the community and circumstances that helped form him. 

“It’s been a joy working with Will Power, Lee Sunday Evans, Eric Berryman and the community of Roxbury dramaturgs on the development of Detroit Red,” says ArtsEmerson Artistic Director David Dower. “When Will first described what he was aiming to do in this play we were immediately hooked. I loved that he wasn’t setting out to stage Malcom X’s biography. That story is told. I admired that he wanted to create this play in a deep collaboration with Roxbury itself.” 

“Will has found a surprising and explosive point of entry through the story of teenage Malcolm Little’s days in our city,” continues Dower. “The entire play is set in a single moment of epiphany trapped in a moment of reckoning — the sudden, impulsive moment of letting go of one story to make the space for the new story to unfold. The media is filled with stories of people who confronted this type of moment of reckoning, gun in hand. This play is about the moment Malcolm Little put his gun down, and let drop the story of Detroit Red. He changed his own narrative and, as a result, changed the world. Will and his team have zoomed in on that split- second decision, unpacking it for us on stage. And so we get to sit inside Malcolm’s head as he stood inside that Roxbury jewelry store at a life and death crossroads.” 

“I am fascinated by Malcolm’s time in Boston,” says Detroit Red playwright Will Power. “It is an unexplored period in the trajectory of a future world leader, a period that, when you include both his time as “Detroit Red” and his time incarcerated, adds up to almost a dozen years in which he lived in the state of Massachusetts. Malcolm X came to Boston as a skinny, countrified teenager (a “hick” as Malcolm describes it), and left Boston as the man known to the world as Malcolm X. In some ways, like Malcom, the city of Boston is iconic onto itself-it represents both the achievements and the complexities that exist in America. I can conceive of no other place that this play could’ve originated in other than right here in Boston.” 

Detroit Red plays for two weeks, February 1 – 16, 2020, at the Emerson Paramount Center Robert J. Orchard Stage. Tickets may be purchased at ArtsEmerson.org, by phone at 617.824.8400 or at the box office. 

“The Children” Opens At SpeakEasy Stage February 28

The Children

To Open At SpeakEasy Stage Company 

February 28

From February 28 to March 28, SpeakEasy Stage Company will proudly present the Boston premiere of the acclaimed drama THE CHILDREN by British playwright Lucy Kirkwood.

A 2018 Tony Award Nominee for Best Play, THE CHILDREN is a taut and timely new play that questions the responsibility each generation has for the way it leaves the world. One summer evening, in an isolated cottage on the British coast, Hazel and Robin, a long-married pair of retired physicists, are surprised by a visit from Rose, a former colleague whom they haven’t seen in 38 years. As the friends reminisce, long-held secrets come to light, leading to the real reason behind Rose’s return.  

A native of East London, Lucy Kirkwood is currently represented on London’s stages by The Welkin.  Her other works include It Felt Empty When the Heart Went at First but It Is Alright Now (2009 Evening Standard Award and 2010 John Whiting Award); NSFW (2012); Chimerica (2014 Olivier and Evening Standard Awards for Best New Play, plus a Critic’s Circle Award and the Susan Smith Blackburn Award); The Children (2016) and The Mosquitoes (2017). Her screen credits include Skins (Company Pictures), The Smoke (Kudos / Sky 1), and the short film The Briny, which she also directed.  Ms. Kirkwood adapted her play Chimerica into a four-part miniseries for Channel 4 in 2019, and has written a new four-part series Adult Material, following a woman’s life in the adult film industry, due to be shown in 2020.

Elliot Norton Award-winning director Bryn Boice will direct the SpeakEasy production of THE CHILDREN. Her recent credits include Universe Rushing Apart: Blue Kettle & Here We Go, two Caryl Churchill one-acts (Commonwealth Shakespeare Company); Admissions (The Gamm Theatre); Last Night at Bowl-mor Lanes (Greater Boston Stage); and an all-female production of Julius Caesar (Actors’ Shakespeare Project). Bryn is the newly appointed Associate Artistic Director of Commonwealth Shakespeare Company and is the founding Artistic Director of fringe ensemble Anthem Theatre.

The cast consists of three Norton Award-winners:  Tyrees Allen, Karen MacDonald, and Paula Plum. 

The design team is Cristina Todesco (scenic); Rachel Padula-Shufelt (costumes); Jeff Adelberg (lighting); and David Remedios (sound). Rachel Sturm is the Production Stage Manager. 

THE CHILDREN will run for five weeks, from February 28 through March 28, 2020, in the Roberts Studio Theatre in the Stanford Calderwood Pavilion at the Boston Center for the Arts, 527 Tremont Street in Boston’s South End.

For tickets or more information, the public is invited to call BostonTheatreScene Ticketing Services at 617.933.8600 or visit www.speakeasystage.com  

Cast 

TYREES ALLEN* (Robin) is thrilled to be back at SpeakEasy Stage, after having played Pops in last season’s Between Riverside and Crazy [IRNE and Elliot Norton Awards — Outstanding Actor]. Broadway credits include Aida (OBC) and the renowned revival of Henry IV at Lincoln Center.   Notable regional credits include playing Colin Powell in the American Premiere of Stuff Happens at The Mark Taper Forum, the title role of Othello at The Old Globe, Christian in Ruined at Echo Theater, and Northumberland in Richard ll at The Goodman Theatre. At the Dallas Theater Center, he has played Elder Jay in The Christians, Evan in Sweat, James Bevel in The Great Society, and Aegisthus in Electra. Tyrees was a series regular on the TV show Women’s Murder Club, has had recurring roles on several shows, and has guest-starred on over fifty shows.


KAREN MACDONALD*
(Rose).  SpeakEasy: Polly, Other Desert Cities; The Drowsy Chaperone, The Drowsy Chaperone. Broadway: Amanda Wingfield [u/s, performed], The Glass Menagerie. Off-Broadway: Oliver Twist (TFANA). National: The Audience (Maltz Jupiter Theatre); No Exit (Hartford Stage); Faithful Cheaters (Trinity Rep); Escaped Alone (Gamm Theatre). Boston-Area:  The Cake, Red Hot Patriot (Lyric Stage); America Plays (Plays in Place);  Calendar Girls (Greater Boston Stage Company); Finish Line (Boston Theater Company); The Apple Family Plays (Greater Boston Stage Company, Gloucester Stage, New Rep); 73 productions including Arkadina, The Seagull, Mother Courage and her Children (American Repertory Theatre – Founding Company Member); All My Sons, Good People (Huntington Theatre); Long Day’s Journey into Night (New Rep); Universe Rushing Apart, Coriolanus, All’s Well That Ends Well, Hamlet (Commonwealth Shakespeare Company); Home of the Brave, The Blonde, The Brunette and the Vengeful Redhead (Merrimack Rep). Ms. MacDonald has worked nationally from The Wilma Theater to Berkeley Rep. She has been awarded several IRNE and Elliot Norton Awards, and has received the Robert Brustein Prize for Sustained Achievement in the Theatre and the Elliot Norton Prize for Sustained Excellence. 

PAULA PLUM* (Hazel). SpeakEasy credits include The History Boys, Reckless, The New Century, The Savannah Disputation, and The Divine Sister. She is the recipient of seven IRNE Awards; the 1995, 2007, and 2017 Elliot Norton Awards for Outstanding Actress; the 2004 Elliot Norton Award for Sustained Excellence, and the 2003 Distinguished Alumni Award from Boston University. In 2009, in association with SpeakEasy Stage, Paula was one of five actors nationwide to receive the Fox Foundation Resident Actor Fellowship. As a founding member of Actors’ Shakespeare Project, she has played Cleopatra, Beatrice, Lady Macbeth, and Phèdre. Paula has also appeared regionally at the Lyric Stage, the American Repertory Theatre, New Rep, Merrimack Rep, Huntington Theatre, Gloucester Stage, and Elm Shakespeare. Film credits include Mermaids, Malice, Next Stop Wonderland, and Woody Allen’s Irrational Man. Television: Science Court (three seasons – ABC) and The Dick & Paula Celebrity Special (co-creator and star – FX). Ms. Plum is a cum laude graduate of Boston University and has studied at the London Academy of Music and Dramatic Art, the Dell’Arte Institute, and École Phillipe Gaulier in Paris. She has been published in American Theatre magazine, is married to actor Richard Snee, and is a professional acting coach.  www.paulaplum.com

Director Information

BRYN BOICE (Director) is thrilled to make her SpeakEasy debut. She is an award-winning director, educator, actor, and producer. Recent credits include Universe Rushing Apart: Blue Kettle & Here We Go, two Caryl Churchill one-acts for Commonwealth Shakespeare Company (Elliot Norton Award–Outstanding Director, Large Theatre); Admissions (The Gamm Theatre); Last Night at Bowl-mor Lanes with Paula Plum and Nancy E. Carroll (Greater Boston Stage); and an all-female production of Julius Caesar for Actors’ Shakespeare Project. Upcoming: A Midsummer Night’s Dream (CSC2/Comm Shakes). NYC and regional credits as an actor and/or director include work with Asolo Repertory Theatre, Boston Playwrights’ Theatre, Caroline’s on Broadway, and Manhattan Theatre Club. Bryn is the newly appointed Associate Artistic Director of Commonwealth Shakespeare Company and is the founding Artistic Director of fringe ensemble Anthem Theatre Company. She teaches acting, voice, applied movement, and dialects, among others, at Salem State. She holds an MFA in Directing from Boston University and an MFA in Acting from the Asolo Conservatory for Actor Training (FSU). More information at www.brynboice.com

Performance Schedule: February 28 – March 28, 2020 

Wed. & Thurs. at 7:30PM; Fri. at 8PM; Sat. at 4 & 8PM; 

Sun. at 3PM.  Additional performance Thursday, Mar. 26 at 2PM.

Review: “Swan Lake In Blue: A Jazz Ballet” At Greater Boston Stage Company

Swan Lake Swings

At The Greater Boston Stage Company

Swan Lake In Blue: A Jazz Ballet

Greater Boston Stage Company 

Stoneham, MA

Through March 1

Reviewed by Bobby Franklin

Sara Coombs and Andy McLeavey

In 1960 Duke Ellington and Billy Strayhorn recomposed selections from Tchaikovsky’s Nutcracker for jazz big band. After discovering this work, composer Steve Bass was inspired to recompose his own jazz ballet and chose Tchaikovsky’s other masterpiece Swan Lake. The result is Swan Lake: A Jazz Ballet now playing at the Greater Boston Stage Company in Stoneham.

The music is original with three themes taken from Swan Lake. The story has been moved to 1940’s New York where producer Florenz Siegfried (Andy McLeavey) is auditioning dancers for a musical. Odette (Sara Coombs), the swan here portrayed as a burlesque dancer, walks into the auditions and Siegfried is immediately taken with her. However, she quickly retreats to the Swan Club where she works for the possessive Von Rothbart, a shady gangster.

The adaptation works wonderfully. The score is solid and if you have ever caught yourself saying “Why don’t they write music like that anymore?”, you will be pleasantly surprised by what you will hear in this work. 

Andy McLeavey

The stage is set with a full big band/jazz orchestra directed by Steve Bass that transports the audience back to that golden musical age. The overture sets things in motion and the stage is then energized with non stop dancing. Ilyse Robbins has choreographed stunning and powerful numbers. With 21 pieces of choreography this had to be a daunting task, but Ms Robbins has scored a knockout. There isn’t a dull spot in the entire production.

Being a ballet there is no dialog, at least no spoken dialog, but the expressive dance speaks clearly and the story is told beautifully. Bringing Swan Lake into the 20th Century works and works very well. The stage full of talented dancers never leave the audience wondering what is happening. Sara Coombs and Andy McLeavey as the leads Odette and Siegfried are a joy to watch. Briana Fallon and Gillian Mariner Gordon as Little Swans join Ms Coombs for a burlesque number that uses swan feather fans to create a Sally Rand type piece that is sultry and sexy. 

David Visini is dark and menacing as Von Rothbart. He is downright scary and his presence further conveys the ability for words and mood to be expressed through dance. 

H.C. Lee, Jackson Jirard, Michael Skrzek, and Mike Herring

Jackson Jirard, Mike Herring, H.C. Lee, Erica Lundin, and Michael Skrzek make up the ensemble, giving a master class in tap. All are superb with Mr. Jirard adding an exclamation mark to the numbers they do together. If you can sit still during these performances you would have to be heavily sedated. 

There is also a teen ensemble that is made up of Lily Lawrence, Claire Lawrence, and Maya McClain. These young people are real pros and all have great futures in theatre. Maya McClain moved like a veteran professional in her numbers with Jackson Jirard. It’s nice to know there will be no dearth of talent in the years to come.

Costume Designer Kevin Hutchins does a beautiful job with the outfits the cast wears. The flavor of backstage musical theatre of the 1940s is captured in the clothing that is reminiscent of Gene Kelly and Donald O’Connor. The soft hat worn by Von Rothbart is put to great use in expressing his gangster persona, while the dance numbers in the Swan Club capture the Age of Burlesque. Combined with the lighting designed by Chris Fournier, the atmospherics are sublime.

Maya McClain, Jackson Jirard, Erica Lundin and Cast

Steve Bass and Ilyse Robbins have created an original work that is being seen for the first time on the stage in Stoneham, but I believe this is something that will move on to other venues. This is no commodity musical. It is a marvelous piece that is destined to become part of musical theatre history. From top to bottom this is a first rate production, and you don’t want to miss it. Someday you’ll get to say you saw it when it premiered. You’ll also be saying “They really do write music and choreograph dancing the way they used to”.

What: Swan Lake In Blue: A Jazz Ballet

Where: The Greater Boston Stage Company, Stoneham, MA

When: Through March 1

Tickets: Phone: 781.279.2200, Box Office: 395 Main Street, Stoneham

Website: www.greaterbostonstage.org Review

Ogunquit Playhouse Announces 2020 Season Lineup

Tony-winners Jason Alexander and BD Wong to Premiere New Shows at
Ogunquit Playhouse as Part of its 2020 Season

Jason Alexander

The legendary Ogunquit Playhouse is thrilled to announce an exciting lineup of shows for its 88th season that includes the Northeast regional premiere of the hilarious dark comedy The War of the Roses, a new play based on the novel by Warren Adler and helmed by Tony Award-winner Jason Alexander, and the world premiere of the funny and heartwarming musical adaptation of Mr. Holland’s Opus, helmed by Tony Award-winner BD Wong. The season opens with the high-energy musical sensation Dirty DancingThe Classic Story on Stage based on the smash-hit film, then continues with a stunning revival of the Tony Award-winning, all-Gershwin, tap dancing extravaganza Crazy for You, and the exhilarating Broadway hit musical based on the lives of Grammy Award-winning husband-and-wife team Gloria and Emilio Estefan, On Your Feet!. The season will stretch to the holidays once again with the return of the hit show White Christmas in collaboration with The Music Hall in Portsmouth, New Hampshire.

BD Wong

“We are honored and thrilled to be collaborating with an incredible team of industry leaders on a number of premieres as part of our 88th season in 2020,” stated Bradford Kenney, Ogunquit Playhouse Executive Artistic Director. “It’s been a great honor to be able to collaborate with Eleanor Bergstein to bring to the stage her iconic film Dirty Dancing. We have been working closely with Tony-winner BD Wong and Tony-nominee Wayne Barker over the last several years on the development of the new musical adaptation of Mr. Holland’s Opus, and we are thrilled to produce its world premiere for Playhouse audiences this year. We have also been working alongside Tony-winner Jason Alexander and the Broadway team on the development of the hilarious new play The War of the Roses, which makes one of its premieres on our stage in late summer. The cultivation of new works is now part of our mission as we produce world-class performances, tell the most compelling stories, and challenge and inspire our audiences in new ways. We are honored that these wonderful new shows will be seen alongside the entire season this year at Ogunquit Playhouse.” 

Five-show season ticket subscriptions are on sale now and the only way to guarantee the best seats for the best price to these exciting shows! Three and four-show subscriptions are on sale beginning Tuesday, February 18. Prices start at only $250 for a five-show subscription and $150 for a three-show subscription. Individual tickets are on sale exclusively for Ogunquit Playhouse Members starting March 11. Individual public ticket sales begin Wednesday, March 18 with prices starting at $53. Gift certificates are also on sale online and through the Box Office. To learn more about becoming a Member, season subscriber, or to purchase tickets and gift certificates, visit www.ogunquitplayhouse.org or call the Box Office at 207-646-5511. 

25th Anniversary of Riverdance Comes To The Wang Center

25th Anniversary of Riverdance Opens March 31 At The Wang Center

See RIVERDANCE as you’ve never seen or heard it before in the new 25th Anniversary production! For over 25 years, nothing has carried the energy, the sensuality and the spectacle of RIVERDANCE. In a powerful and stirring re-invention of this beloved favorite, renowned composer Bill Whelan brings this mesmerizing, Grammy Award®-winning soundtrack back to life, completely revitalized for the first time since those original orchestral recordings. Producer Moya Doherty and Director John McColgan have produced an amazing new 25th Anniversary production with innovative and spectacular lighting, projection, staging and costume design, and an all-new finale number which will blow audiences away

www.bochcenter.org/buy/show-listing/riverdance-2020

Statement From Huntington Theatre Regarding Closures Due To COVID-19

HUNTINGTON THEATRE COMPANY
CANCELS ALL PUBLIC PERFORMANCES AND EVENTS
AT THE HUNTINGTON AVENUE THEATRE
AND CALDERWOOD PAVILION AT THE BCA

Huntington Theatre Company Managing Director Michael Maso announced today after much careful consideration that due to the evolving circumstances surrounding COVID-19, effective immediately, the Huntington Theatre Company will suspend all public performances and events at both the Huntington Avenue Theatre and the Calderwood Pavilion at the BCA until further notice.

The Huntington Theatre Company ticketing staff will be reaching out to ticket holders of Our Daughters, Like Pillars (scheduled for Mar 20 – April 19) to inform them of the cancellation of all public performances of the world premiere comedy by Kirsten Greenidge. The Huntington hopes to create a digital recording of this play to be made available to ticketed patrons. Huntington ticket holders will also have the option of donating their tickets, exchanging them for a future Huntington production, or refunds. All proceeds from donated tickets will go towards supporting artists and other contracted employees who will be affected by cancellations of Huntington programming.

In keeping with our commitment to customer service and our flexible exchange policies, we are happy to work with any patrons who feel uncomfortable attending their designated performance when our venues reopen. The Huntington would like to thank its patrons for their patience, understanding and support at this time. The artists and staff of the Huntington look forward to reuniting with audiences together in their venues when it is safe to do so.

For more information on the Huntington Theatre Company’s response to COVID-19 click HERE
For more information on ticketing donations, exchanges and refunds please call 617 266 0800.
For more information on the Huntington Theatre Company’s 2020-2021 season please click HERE

Statement From Hartford Stage Regarding Closures Due To COVID-19

Hartford Stage Cancels All Remaining Performances Of Jane Eyre and Run Of The King’s Speech In Response To COVID-19

Based on recommendations from state and local government in response to the ongoing challenges posed by COVID-19, Hartford Stage is canceling all remaining performances of Jane Eyre (March 12-14) and the run of The King’s Speech, scheduled for March 19 through April 19.

“The safety and health of our community, visiting artists, staff and volunteers always remains our first priority at Hartford Stage,” Managing Director Cynthia Rider said. “We know that communities are in need of our solidarity and support in these times and want to encourage neighbors and patrons to meet this crisis with compassion and care rather than fear and division.”

Rider added that the theatre will continue to closely monitor all updates and changing circumstances provided by the Connecticut Department of Public Health. Should additional changes be made to upcoming performance schedules, visiting artists, ticket holders, staff, and volunteers will be notified as quickly as possible.

Tickets for Jane Eyre and The King’s Speech can be exchanged into performances of Ah, Wilderness! (May 7 – 31) or The Complete History of Comedy (Abridged) (June 11 – 21). All exchange fees will be waived. Alternatively, tickets can be donated back to Hartford Stage, a 501(c)(3) organization, as a tax-deductible contribution at a time of increased financial challenges for the performing arts industry.

Patience is asked for in anticipation of high call volume as the Hartford Stage Box Office staff works to reach out directly to all ticket holders. For quick access to information on ticket exchanges, visit http://hartfordstage.formstack.com/forms/cancellation.

Statement From Trinity Rep Regarding Cancelation Of A Tale Of Two Cities

Trinity Rep In Providence Announces Cancellation of A Tale of Two Cities

Due to the state of emergency declared today in Providence by Mayor Jorge Elorza, all remaining performances of A Tale of Two Cities at Trinity Rep are cancelled. The Mayor has revoked all entertainment licenses until further notice.

The box office will be reaching out to all affected patrons. We ask patrons to await contact from the box office so that they can contact people for this weekend’s performances first. Tickets may be exchanged into a future performance of Sweat or Sweeney Todd, donated to Trinity Rep, or refunded to a gift card.

As a non-profit organization which employs many staff members and artists living paycheck to paycheck, we ask that you support Trinity Rep in any way you can at this time, including with your patience and generous spirit

Trinity Repertory Company | (401) 351-4242 | TrinityRep.com

 

Statement From The SpeakEasy Stage Regarding Cancelation Of “The Children”

SPEAKEASY STAGE CANCELS ALL REMAINING PERFORMANCES OF 

“THE CHILDREN”

Giving the evolving circumstances around COVID-19, and out of concern for the health and safety of its patrons, staff, and artists, SpeakEasy Stage Company has decided to cancel all remaining performances of its production of THE CHILDREN effective immediately, Paul Daigneault, the company’s Founder and Producing Artist Director, announced today.

Boston Theatre Scene Ticketing Services, which handles all of SpeakEasy’s ticketing, will be reaching out to all patrons holding tickets to these cancelled performances to discuss their options, which include donating the cost of the tickets, exchanging for tickets to a future SpeakEasy production, or getting a refund.

All proceeds from any donated tickets will go to support SpeakEasy programs and artists, including those affected by the show’s cancellation.  

On behalf of its staff and artists, the company would like to thank all its supporters for their patience and understanding at this time.  

For information on any upcoming shows or events, the public is invited to check out the company’s website (www.SpeakEasyStage.com) and Facebook page, or call SpeakEasy’s Administrative Office’s at 617-482-3279.  

 

Statement From ArtsEmerson Regarding Cancellation Of Performances

SUPPORTING THE CIVIC EFFORTS IN BOSTON TO FLATTEN THE CURVE ON SPREAD OF INFECTION

ARTSEMERSON IMMEDIATELY DISCONTINUES ALL PUBLIC PROGRAMMING

ArtsEmerson today announces that it will suspend scheduled public gatherings beginning today, March 13, with the hope of continuing more regular activity by the end of April 2020. This decision comes in an effort to support the civic efforts in our region to flatten the curve on the spread of the infectious coronavirus (COVID-19).

In all instances, ArtsEmerson is investigating whether programming may be rescheduled to a later date, and all ticket-holders will be notified directly with information and instructions as soon as possible. For anyone holding tickets to one of these performances, ArtsEmerson requests that you wait for an email with instructions rather than calling the box office. Staff members are working as quickly as possible in these challenging times.

Impacted events will not take place on these dates:

·       Plata Quemada – March 13-15

·       La Chana, part of Shared Stories: A POC Film Series – March 13-14

·       Film: Cyrano de Bergerac – March 14-15

·       Film: All My Sons – March 20-22

·       Octavia E. Butler’s Parable of the Sower – March 26-29

·       Film: Wise Children – March 27-29

For more information, please visit www.ArtsEmerson.org.

WGBH Presents “Mala” Thursday Night at 10:00

WGBH PRESENTS

A SPECIAL BROADCAST OF

MALA

A ONE WOMAN PLAY BY MELINDA LOPEZ

Collaboration with

ArtsEmerson and Huntington Theatre Company

Airs on WGBH 2 on Thursday, April 9, at 10 p.m.

Melinda Lopez
Photo Credit: Paul Marotta

With live theatrical performances closed due to the coronavirus, public media outlet WGBH has collaborated with Huntington Theatre Company and ArtsEmerson to bring live theater to the living room. WGBH will present a special broadcast of Mala, a poignant drama written and performed by local playwright and performer Melinda Lopez. This award-winning play will air on WGBH 2 and YouTube TV on Thursday, April 9 at 10:00 p.m.

“Theater is a powerful medium to process challenging times. So with our Boston theaters dark, we are thrilled to be able to bring this important work to local audiences in partnership with ArtsEmerson and Huntington Theatre Company,” said Jon Abbott,  president and CEO of WGBH. “ Our shared commitment to the arts strengthens us as a community.”

Set during a winter of epic snowfall in 2015, Mala is inspired by notes Lopez frantically typed to herself on an iPhone while she cared for her increasingly frail and consistently fierce mother. These short missives ultimately create a moving and generous portrait of the way taking care of family tests, deepens, and changes our bonds to the ones we love. Lopez, a regular on Boston stages, also performs the play, directed by ArtsEmerson’s Artistic Director, David Dower. Although the performance was taped in 2018, it will be broadcast for the first time on April 9. WGBH viewers will be able to experience the humor, honesty, and ultimately cathartic experience of this award-winning play by a celebrated local artist.

“At the time this was filmed, we were so grateful to the Huntington and to WGBH for their interest in capturing this show during its return to Boston,” said Dower. “But we had no idea how urgent and moving it would become to have it available to air in the middle of this moment. It seems now like a bit of a miracle that it exists to be shown in this way. The WGBH team has brought such love and care to the making of this broadcast, and Melinda’s performance is indelible. We are so proud to have been a part of making this possible and relieved to be able to still connect with our city in this time of standing together by standing apart.”

After performing to sold-out houses during its 2016 world premiere engagement at ArtsEmerson, Mala won the 2017 Elliot Norton Award for Best New Script. Huntington Theatre Company presented a return engagement of the ArtsEmerson production at the Calderwood Pavilion at the BCA in January 2018, where WGBH recorded and produced the broadcast. Mala went on to play a successful run at Minneapolis’ Guthrie Theater.

“Each time I have seen Melinda Lopez’s stirring play Mala, I leave the theater with a sense of breathless joy and optimism, marveling at Melinda’s ability to draw everyone in as if they were family,” says Peter DuBois, Artistic Director of the Huntington Theatre Company. “Melinda’s message of resilience seems especially relevant now, when so many of us feel isolated as caregivers who are worried about a parent or mentor. Melinda’s play has warmth, laughter, and beauty — things I know we all need. I am looking forward to sharing it with new audiences through WGBH!”

Following the broadcast, ArtsEmerson will host a pre-recorded online conversation between playwright/performer Melinda Lopez and director David Dower at ArtsEmersonBlog.org.

Ogunquit Playhouse Cancels 88th Season Due to COVID19 Pandemic

Ogunquit Playhouse Executive Artistic Director Brad Kenney Announces 

Cancelation of the 2020 Season

By Bobby Franklin

I have been reviewing shows at the Ogunquit Playhouse since 2014, and have been attending performances since well before that. The  Playhouse has aways held a special place in my heart with its wonderful staff, incredible productions, and the warmth of all who are involved which includes all of its supporters.

The Playhouse is as much a part of Ogunquit as the ocean. Brad Kenney has been nothing short of spectacular since taking over as Executive Artistic Director in 2005. Not only has he brought in the best talent and productions, he has also built a community around the Playhouse that is nothing short of a very large and happy family. I know this has to be very hard on Brad and is a time of great sadness for him and all those involved with the Playhouse.

While I know he is on the ropes right now, with the support of the Ogunquit Playhouse Community Brad will bring the lights back on next year and soar to new heights.

Please considering sending a contribution to help them weather this storm. This is a difficult and sad time for the theatre community, for Ogunquit, and for our nation. We will get through this.

Statement from the Ogunquit Playhouse:

Following guidelines released this week by Governor Janet Mills in response to the reopening of Maine’s businesses, and responding to the safety challenges posed by the coronavirus pandemic and COVID19, Ogunquit Playhouse has announced that it will halt productions on all scheduled 2020 shows at its historic theatre and cancel its 88th season. Ogunquit Playhouse has not gone dark for a season since World War II.

Ogunquit Playhouse leadership reached the difficult conclusion that it must cancel its highly anticipated lineup of shows slated for its stage this season, with the hope of moving them to a future season. The decision comes after weeks of careful deliberation, extensive revisions to the season’s budgets and show schedules, and thoughtful health and safety planning to protect staff, crew, volunteers, visiting artists and patrons.

The historic non-profit theatre relies on the sale of tickets for 80% of its operating budget, and the cancellation of the 88th season will have a profound financial impact on Ogunquit Playhouse. Despite drastic cost-cutting measures, the Playhouse will incur financial damages exceeding $3 million. Its focus now will turn to raising funds to ensure the financial viability of the Playhouse and to carrying on its mission.

“Our commitment to the health and safety of our staff, artists, and audiences is our top priority. Although this decision is difficult and heartbreaking, we understand its necessity and are willing to do our part to stop this pandemic. Although we have cancelled our main stage productions, we will continue our mission of providing artistic content—in many new ways this year, while also focusing on raising needed funds and planning for an extraordinary 2021 season. Everyone at the Playhouse was excited and honored to be presenting these exceptional titles this season. Our hearts are with all the artists, actors, craftspeople, our seasonal staff and crew, who are severely impacted by these upheavals to their professional lives and livelihoods. While the months ahead still hold much uncertainty, it is our mission to be here for future generations and to preserve this beloved historic theatre, and we will do just that. Ogunquit Playhouse has weathered many storms for nearly a century and together we will emerge from this crisis, and look forward to brighter days, when we gather again at the Ogunquit Playhouse,” stated Bradford Kenney, Ogunquit Playhouse Executive Artistic Director.

This closure also disrupts the surrounding business community that depend on the theatre as a major economic driver in the region. Over 120,000 ticket buyers visit the Playhouse each season, and in turn patronize regional restaurants, hotels, and retail establishments.
Public support in this time of global health and economic crisis will help ensure that Ogunquit Playhouse continues to share transformative and entertaining shows, new works and world premieres on its historic stage for future generations.

For more information on how to contribute and to stay connected during the coming year, visit www.ogunquitplayhouse.org.

About Ogunquit Playhouse: 
Ogunquit Playhouse, is a 501(c)3 not-for-profit organization listed on the National Historic Register. Its mission is to produce world-class performances, and new works, and preserve the historic playhouse for future generations. The theatre is located on Route One in Ogunquit, Maine and produces the finest Broadway shows each season. It also produces an annual holiday show at The Music Hall in Portsmouth, NH in late November and December. Follow Ogunquit Playhouse on Twitter (@OgunquitPH) and on Facebook (facebook.com/OgunquitPlayhouse) for behind-the-scenes info, photos and fun throughout the season. For more information visit www.ogunquitplayhouse.org.

Jess Willard Reconsidered

The Pottawatomie Giant Deserves Respect

By Bobby Franklin

Jess Willard

In the recent heavyweight title fight between Tyson Fury and Deontay Wilder both men were, to put it mildly, quite large. Fury at 6’9” weighed in at 273 pounds while Wilder at 6’7” tipped the scales at 254 pounds. Wilder usually comes in lighter but was bulked up for this fight. 

While both men are among the largest to ever hold the crown, there have been heavyweights in the past who would not be out of place in the ring with either one of them. Jess Willard at 6’6 1/2” and weighing in the vicinity of 245 pounds would be able to match eyeballs with Fury and Wilder, though Fury would have a couple of inches on him. 

Willard is best known for two fights, his win over Jack Johnson when he took possession of the Heavyweight Title, and his defeat at the hands of Jack Dempsey when he lost the crown. Both fights have the shadow of controversy hanging over them that obscure Willard’s performances in  them.

When Jess met Jack Johnson for the title on April 5, 1915 at Oriental Park in Havana, Cuba he was the latest in a string of White Hopes who were sought out to take the title from Johnson. The fight was held in Cuba because at the time Johnson was a fugitive from justice and would have been arrested had he returned to the United States.

Jack Johnson On The Attack Against Willard

The fight was scheduled for 45 rounds and took place in the afternoon. One of the myths surrounding the fight was that the temperature was scorching by the time the combatants had entered the ring. Arly Allen, who wrote the definitive biography of Willard stated after exhaustive research that the hottest it had gotten that day was 70 degrees. Looking at footage of the fight you can see the fighters were dressed warm when they entered the ring; Willard had a heavy sweater on. The fans also looked quite comfortable.

Johnson Vs Willard

The other myth that has been used to discredit Willard was started by Johnson years later when he claimed he threw the fight. Every boxing historian I know does not buy in to that. In fact, all you need to do is watch video of the fight and you will see in the early rounds Johnson going all out to knock out Willard. Jess survived this assaults from the champion and came on to knock out Johnson in the 26th round. While Johnson was not in the best of shape, weighing 225 pounds as compared to the 208 he weighed against Jim Jeffries five years earlier, Willard fought a very good fight showing excellent footwork for a man his size. Jess also had a powerful right hand which he used to finish off Johnson. 

Much of the blame for Johnson not being in great fighting shape falls on Jack as he refused to face serious opposition after he won the title. His toughest opponent was Jeffries who had been out the ring for six years when they fought. Johnson also had been leading a wild lifestyle. Would things have been different if Jess was facing an in shape Johnson? Possibly, but the fact is Willard won the fight fair and square after standing up to the best Johnson had to offer. 

Willard vs Dempsey

In the Dempsey fight things turned out differently for Jess. The controversy in this fight centered on Jack, who many believe fought with loaded gloves. This story was started by his manager Jack Kearns years later after the two had a falling out. It has never been proven or disproven and, while most historians don’t believe Kearn’s story that he put Plaster of Paris on Dempsey’s hands before the fight, there is reason to believe Jack had his hands wrapped in bicycle tape. The bicycle tape was legal at the time. There is also a theory that Jack had a metal bar in his hand when the fight began. I have written about this in more detail before as have many other boxing experts. It is something that will never be fully resolved.

In the first round of the fight, which took place in Toledo, Ohio on July 4, 1919, Jess took a terrible beating being floored seven times and being saved from a knockout by the sound of the bell. (Actually, a whistle as the bell had broken before the fight.)

That is what most people remember of the fight. What happened in the next two rounds is interesting as Jess was not floored again. He put up a courageous stand before his corner called an end to the fight after the third round. 

Jess Willard vs Floyd Johnson Drew A Huge Crowd

It has been written that Willard wanted a rematch with Dempsey but he didn’t help his chances at getting another go against the Manassa Mauler by staying inactive for the next four years. 1923 he stepped into the ring against Floyd Johnson, and while having some rough moments early in the fight came on to kayo Johnson in the 11th round. Willard looked fit and on the way back at the age of 42. He was then signed to fight Luis Firpo with the winner being promised a shot at Dempsey.

The fight took place at Boyes Thirty Acres in Jersey City, New Jersey on July 12, 1923. Firpo kayoed Jess in the 8th round putting an end to any hope of the Pottawatomie getting his return bout against Jack Dempsey.

It should also be noted that both of Willard’s comeback fights drew huge crowds and the former champ remained extremely popular. A rematch with Dempsey certainly would have been a major attraction.

Jess Willard

So, what would have happened if Willard and Dempsey had fought again? I think it would have been a bit different than the first fight. Jess wasn’t imbued with the killer instinct. When younger, he  killed a man in the ring and that had aways haunted him. He believed, with good reason, that he was much more powerful than his opponents and had a certain fear of fatally hurting another. Because of this he often lacked aggression when fighting.

Before the Dempsey fight Jess was asked if he thought he might kill Dempsey. In fact many thought that was highly possible. When the bell rang for the first round you can see how Jess came out of his corner in a very calm manner. When the two went into a clinch Jess stepped back with his arms spread as if to say he wasn’t going to hurt the little guy. Willard was completely unprepared for the assault that was soon to take place. However, after taking that beating in the first round, he fought back hard and gave Dempsey a bit of a go of it.

In a rematch, Jess would have come out ready for battle. He most likely would have used his weight against Dempsey, not stepping back in a clinch but instead he would have roughed the champion up. Dempsey still would have won, but the fight would have gone longer and would have had more grappling.

Willard only had 28 fights in his entire career. He was a reluctant yet courageous warrior. In his two most notable fights he has not received the credit he deserved. Nobody though he would beat Johnson, yet he proved them wrong. Against Dempsey, he showed the heart of a champion and a strong fighting spirit. 

Jess really didn’t have the killer instinct that is needed in such a cruel sport. He did have great athletic ability, was always in great shape, and had tremendous courage. You might want to take a look at the fights I have discussed and reconsider your opinion of Willard.

Interview With Len Abram, The Author Of “Empty Doorways”

Author Len Abram Talks About His Novels, The Process Of Writing,  And How He Chooses His Subjects

Interviewed By Bobby Franklin

It is my pleasure to welcome Len Abram to speak with us at Boxing Over Broadway.

With a PhD in literature, Len Abram taught at three universities, including the University of Maryland armed forces program (Korea, Thailand, Taiwan, Japan, and Bermuda).  He taught Marines on Okinawa for a year and learned to SCUBA dive. 

When teaching jobs went scarce, he became a technical writer for networks and financial services, with customers, such as MasterCard, NATO, Department of Defense, the Federal Reserve, Japan Airlines, and Fidelity Investments.   At Fidelity, he earned a stock broker’s license and wrote articles for customers. He interviewed experts, such as Peter Lynch, Suze Orman, and Larry Kudlow.

Empty Doorways is his third novel. His first was also a crime novel, with some of the same characters, The Medallion, followed by an historical a novel set in World War I, Debris: A Novel of Love, War and the Lusitania. 

He has completed – more accurate than ran — eleven Boston Marathons, the last one in 2019 in seven very long hours.  

Boxing Over Broadway: Hi Len, thank you for speaking with us at Boxing Over Broadway.

Len Abram: Thanks for this opportunity.

BOB: You have written three novels — The Medallion, Debris, and your latest, Empty Doorways. While Debris is a historical novel, how would you describe The Medallion and Empty Doorways?  Is Empty Doorways a sequel to The Medallion? 

Len Abram

Len Abram:  Debris, A Novel of Love, War and the Lusitania, required research: from the politics and strategies that shaped World War I, to the ship designs that made the Lusitania so fast, to the German submarine U-20 that sunk the ship, killing 1200 passengers and crew.  I learned that spies on the New York docks targeted the ship for attack.  I fictionalized who those spies were, how they got there, and what happened to them. 

The Medallion and its sequel Empty Doorways are contemporary detective stories. Like most people, I get my information from reading newspapers or watching TV news about crimes in metropolitan Boston. I did take several courses in gun use and gun safety, how to operate and fire the Glocks my detectives carry. A .357 pistol plays a role in Empty Doorways. The bullet can go through an engine block. I learned to load and fire one.

BOB:  Is Boston important in your stories because you live in the area and are familiar with it or is there something special about Boston that adds to the flavor of your books?

Len Abram: The cabbie Sasha Denisov gets many of his fares at South Station, one of two major Boston transportation centers. Not far from the station is the Boston Police headquarters at Government Center, where Detectives Schwartz and Di Natale work.

As realtors say, Location, location, location. Like lives, stories have a context. Boston appears in all three books

As realtors say, Location, location, location. Like lives, stories have a context. Boston appears in all three books. Even the historical novel Debris focuses on a distinguished Boston family of the early 1900s. The Lindseys built the chapel on Newbury Street in memory of their daughter Leslie and her husband Stewart, drowned when the ship sank. To this day, weddings are performed in the chapel.

The Medallion and Empty Doorways are set in today’s Boston, its neighborhoods, such as Mattapan, and its surrounding cities, such as Cambridge. The two books mention shared events, but can be read in or out of sequence. Major and minor characters reflect the ethnic and cultural varieties that make up the communities of the city – and add vitality and richness to life here. 

From the Boston Common, when we look up Beacon Hill at the State House, we might see its golden dome as our highest ideals we climb to reach. If beyond our grasp, we continue to try. 

BOB: Tell us a little about the characters that are common to both books. How did you come up with the names for them? Their personas?

Len Abram: My three major characters are taxi driver Sasha Denisov and Detectives Ben Schwartz and Al Di Natale of Boston PD Homicide.

Immigrant Sasha Denisov grew up in the Ukraine, as did my parents and cousins. They served in the Russian army like Sasha, but the cabbie was in the special forces Spetsnaz, after which he names his cab company. Sasha’s name I drew from Ivan Denisovich, the everyman character in Solzhenitsyn’s novel of the Gulag, the Soviet Union’s concentration camps. Like so many, Sasha fled his native land for a better life.   

Ben Schwartz, an outstanding detective, is in his 50s, a couple of decades older than his partner Al Di Natale. Originally from New York, Schwartz is Jewish, not observant like his wife Evie, but each year he goes to a synagogue to pray for a murder victim, one of his cold cases, which he is determined to close in The Medallion.  

Schwartz’s partner Al Di Natale, with the lyrical Italian name, is a former Catholic altar boy from Woburn. Di Natale is a decorated Army combat veteran, who distinguished himself as a patrolman to become a young detective. Di Natale is very handsome, an asset and a curse. His vanity may ruin his marriage.

In Empty Doorways, Schwartz and he join the rest of Boston searching for a missing 12-year-old boy from Mattapan.  

BOB:  Why this topic, these characters? 

Len Abram: Many years ago, I taught eighth grade in an inner-city Boston school. I told one disruptive boy to stay after school as punishment. He couldn’t. He had to meet his parole officer. On parents’ night, the mother of one of my black students, tall like the missing boy in Empty Doorways, said to me, “Mr. Abram, please learn my boy,” By that she meant teach and maybe lead or influence her son. I think of all those parents and grandparents, who want the best outcome for their children – and what they are up against in some of our neighborhoods. I think I speak for them in my writing.  

BOB: Tell us a little about your journey to becoming a novelist.

Len Abram:I love reading stories and I learned that I love telling stories too.  I have a PhD in literature and taught for seven years, four of them in the Far East for the US armed forces education program. I ended up as a tech writer in computer networks when there were no teaching jobs. 

I have always written essays and book reviews, along with my technical writing. One day I left work, which was next to South Station, and I noticed the cabs lined up for fares. I had an idea about a taxi cab driver, an immigrant from the Ukraine, who risks his life while pursuing the American Dream. I wrote a paragraph, and showed it to a friend. “Why don’t you do something with this?” he asked. That started me writing novels.  

BOB: Writing is a tough job that takes a lot of discipline. How do you structure your creative time?

Len Abram: I joked to another writer when my third book was published: the victory of tenacity over talent. Some truth in that. One of the characters in Empty Doorways is given a saying or motto for his recovery from a severe injury: Never Quit. 

I’ve had many setbacks and many rejections about my writing. I don’t know how much talent I have. Someone has said that talent is everywhere. Whatever success is, it takes more than talent. 

When I am writing a novel, I work five days a week, three to four hours my limit. Right now, I am in between novels, and just finished a book review. That sharpens my skills while I am thinking of my next project. 

BOB:  Will there be a sequel or will you move to another topic?

Len Abram: Whether these two detective books begin a series – we’ll have to wait for the next novel on that score. But I am planning one. 

BOB: This seems like something that could work quite well as a TV series. Any plans to adapt it into a screenplay?

Len Abram: An editor and friend is a professional screen writer. We are talking about a series based upon the cases of Detectives Schwartz and Di Natale. 

BOB: In closing, why will people enjoy reading your Empty Doorways?

Len Abram: One of the characters in the novel says that if we cannot protect our kids, none of us is safe. If we cannot protect Gabriel Clay in Mattapan, how safe is any of us anywhere? 

The cabbie, the teachers, the parents and grandparents, the clergy, and of course the police, like Schwartz and Di Natale, are fighting to save the kids, in effect, our future. That’s worth writing about, and maybe reading. 

Thank you, Len Abram

 

BOB: We have included a sample chapter from Empty Doorways. Why did you choose this one?
Len Abram:  This chapter can standalone. Drug dealing is central to Empty Doorways, part of an underground economy worth many billions,ruining lives, and corrupting the young. Cartels from Mexico control much of the drug trade into our country, but locals take on distribution and street corner sales. In this chapter a Mexican cartel has decided to move from wholesale to retail, that is, replacing or coercing local distributors and dealers, like those in the novel, who must decide whether to go along — or fight.
Chapter Thirty-Seven From Empty Doorways

The road was as crooked as a tree root, following an ancient Indian or game trail, Castilla guessed. Paved once and forgotten, a token of good will from a Mexican government, perhaps hoping to stall another revolution by the campesinos. Pitted and washed out, the road was threadbare to the sand floor of the desert.  

The lights from the two vehicles cut tubes into the night, dark as poured asphalt. Clouds had squeezed together without a seam, leaving the stars as dim dots and the half-moon a shadowy boulder.  To their left on the horizon, the string  of lights, brighter than the stars on a clear night, was Texas. Their two vehicles were on the Mexican side of a desert, at least three quarters of the year barren, with a short, fierce  rainy season. The cloud cover meant that it would start soon. 

The torrent lasts a few weeks, not more than a month, Castilla remembered. He had grown up in a village a hundred miles to the south. Desert flowers bloom until the sparse land looked like a meadow. With the rains came flash floods, racing through the land to find the larger rivers to which the water belonged. The floods pushed aside what was in their way, trees, coyotes, snakes, cactus, rocks, cars, people.  His father and his dog Alonzo, in a pickup truck older than the one in front of them, had been swept away by such a flood. 

Hector Castilla was only ten. “Life has dealt us a hard blow,” his mother said, wrapping herself in black dresses borrowed from neighbors. She handed Castilla one of his father’s favorite hats, a sweat-stained Stetson. Castilla thought that the hat was in a trunk of clothing in the cellar of his villa. The passing of the hat, he realized later, marked the end of his childhood.  

The pickup in front was also a Ford, at least two decades old, the second time around for the odometer. The paint was worn to the primer. Rust had reduced the metal rocker panels to paper. Three men lay bound on the bed of the pickup. The truck belonged to one of the men, Ernesto Guerra, who was tied up in the back with his cousin Mateo and his friend Tomas. Guerra’s dog, a pit bull with a muzzle guard, lay next to him, the chain to his collar tied to a metal cleat. When Castilla’s men picked up the three, they were ready to shoot the dog if the muzzle guard came off. The dog was fearless. He growled and shot spittle through spaces in the guard. Guerra said to the dog, “Cochise, silencio.”  The pit bull dropped his clipped ears and lay quiet against him.  

El Nino, one of Castilla’s men, drove the pickup. He peered over the dash watching for gulleys that could break an axle. Beside him in a burlap bag were the weapons and ammunition taken from the three men, Guerra’s scuffed nickel .357 revolver and two rusty black revolvers of different calibers, belonging to the other two men, along with a fold-up knife and a barber’s razor, found in their  jeans.  Also in the bag taken from them were packets of brown heroin, stenciled with the brand names of WMD and Star Wars. Also, there were bags of marijuana, and hundreds of pills, in several colors and shapes.  The three men were caught selling in Castilla’s territory. 

The vehicle behind the pickup, Castilla’s, was a new black Escalade, shiny as an eel. It stayed far enough behind the pickup to avoid the stones kicked up from the tires. The more powerful lights of the Escalade overshot the pickup hundreds of feet and its wide tires bridged ruts. The new shocks and springs cushioned the ride for the four men inside, the driver Manuel, his thick knuckles wrapped around steering wheel, Marimacho and Felipe, Castilla’s two other bodyguards.  Hector Castilla sat in back next to Marimacho. El Nino in the pickup was also a bodyguard, the youngest in his service at 16. 

Castilla liked privacy when he did his business. With drones and satellites, that was getting more difficult. Driving late at night on off-roads in the desert was about as private as he could find. Besides, he and his men had driven out here before and no one had noticed them or what they left behind.  

Castilla was the only man smoking in the Cadillac, his brand, gold-tipped Dunhills.  The Escalade’s air conditioner sucked the cigarette smoke into the dash and returned clean air with a fragrance enhancer.  Castilla was short, even by Mexican standards, and did not like being reminded of his height.  One of the great drug lords, as the press called them in their love of medieval words, had the nickname of Shorty. Not for Castilla. 

His clothes and tastes didn’t suggest that they belonged to one of the wealthiest men in the Mexican state of Coahuila. This was in the economía ilegal, larger than Mexico’s legitimate economy and competitor of the government. Castilla only spent a great deal on his footwear; the boot maker from San Diego was an artist in adding three inches to Castilla’s height. 

He was third in line of the Sinola cartel. Emmanuel Sinola had a big map in his home, on a private island off the Mexican east coast.  Freighters and pleasure craft came offshore to pick up bales and packages to bring to the customers. Sinola had hacked out a runway on the island. He flew his jets and twin props into there. When he traveled at 500 miles an hour, Sinola could be home for supper from nearly anywhere in the country. 

Castilla himself had a villa on the east coast, but not his own island. He was given his territory, like the other lieutenants, to be the chief executive officer of his own business, which grossed duffel bags of cash, with dozens of machines to count it all. Castilla just attended a meeting Sinola organized. He invited a professor at a famous business school in the United States to talk about improving their company. 

A Lear jet brought the man from Hartford to the island at twice his usual fee.  Castilla never went beyond the tenth grade of the missionary school, but he got a message from the lecture and his own observations:  if businesses don’t expand, they contract and start to fail. Stasis, estasis, in Spanish, that is what the MBA fellow from Yale called it.  

In his home, Castilla had a map of the United States. Pins showed where he sold or distributed. His area was there too, green pins for the most profitable, red and yellow for those less so, pins everywhere on the map, across the United States, except when he looked north. New York and New Jersey were saturated already with competitors. But in the place called New England, there might be room. Was life’s secret either grow or die?

 “Pass them. Head to the arroyo,” said Castilla, leaning over to tap his driver’s thick shoulder. 

Manuel stomped the gas pedal and moved around the lumbering pickup. In the dust behind, they saw it try to catch up. Another road veered to the right, this one just dirt, and dropped gradually into what was a valley, shallow and hidden. Organ pipe cactus towered over the tall Escalade. Manuel drove around desert willows that scratched the tires and fenders and barrel cactus shaped like bread crusts. 

Castilla said stop. Manuel signaled the pickup so he wasn’t rear-ended.  The kid El Nino drove well, great reflexes and fearless, but impulsive too.  They pulled to a stop, shut their engines and stepped out, leaving their lights on; Castilla got out of the tall Escalade backwards holding onto the door. The bodyguards looked around, but they were quite alone.

Still, they unbuttoned their coats to access their weapons, pistols with long magazines. Manuel pulled an AK-47 out of the vehicle and shouldered it. He went back to the Escalade and returned with a machete, well-worn in its scabbard. With it, a strong man could sever a head in a few seconds. 

“Get them out,” Castilla said. “Conseguirlos.”

El Nino dropped the gate on the pickup truck and dragged the men by their boots and sneakers onto the hard dirt.  The dog growled and yelped inside the mask, but he had little choice but to follow his master to the ground. They dropped hard, the men and the dog on the ground, raising dust in the beams of the Escalade. The dog was glad to be out of the vehicle and was wagging its tail. It tried to lick Guerra’s face inside the bite guard. 

The dog growled when El Nino pulled a 9mm from a holster. He stepped back, thumbed off the safety, and looked over at Castilla.  Manuel pulled out overalls and a cap from the Escalade and slipped these over his street clothes. He pulled the machete out of its scabbard and walked to the bound men.  The dog growled again. 

“Get them on their feet,” said Castilla. His men were surprised. They prepared themselves for the violence and he stopped them.  The acts did take resolve, an adrenalin spike, a gulp of Mezcal, a couple of pills, the snort of something white or brown, in order to shoot or butcher a person who was no danger to you. Usually with hands tied behind or worse, hands up, appealing for pity, mentioning children by name, their ages, anything to slow down or interrupt  what was about to happen, and they couldn’t stop. 

If he saw his men falter, Castilla bolstered their courage.

“You are not paid for pity,” Castilla had said once or twice and was repeated among his employees enough times to be misquoted or embellished.  “It’s enough I pity you. If I don’t, who will save you?”

They had heard the rest of the speech before. 

“This is war. Big countries like that cesspool from the north, Americanos, bomb their enemies with billion-dollar aircraft. Collateral damage when they kill thousands of innocents. War gives them the right. 

“We are at war and what about our rights?  At war with the government of Mexico, which will take away our livelihoods so we can go back to what? – selling trinkets to the tourists, dirt farming, with a few cattle or pigs, rice and beans and maize until our children look ready for the vultures? Or do we break our backs picking vegetables from sunrise until dark on farms or orchards of the enemy that stole our land? “

No, patron,” the men said. 

 The dog was sniffing the air hard to try to understand the place and the people.

“Now I will give you another lesson. Look, two of them have pissed in their pants, but not this one,” pointing to Ernesto Guerra. “They all think they have reached the end of their lives. Maybe they have.  I run a business, with computers, satellites, networks, jets, the best in machines and I hope the best in men.  Now we will see what kind of men we have here. Untie them. Also take off their shirts.” 

The bodyguards stood the three men up. Manuel used the machete to cut the tape. He let them take the tapes off their mouths themselves. They rubbed their wrists and arms. Their shirts were on the ground and they were cold. Guerra stepped forward and asked for aqua, water. They had a few prison tattoos, neighborhoods, but not an organization like MS-13. They did not know that the affiliation would have meant instant death. 

Felipe brought them three bottles from the Escalade. They drank. Finally, Guerra spoke.

Patron, we should not have been selling our bags in the area. It was my mistake. Not theirs. This is my cousin. This is my friend.”

Castilla stepped out the shadow of the Escalade. 

“Your tattoos says that you belong to no gang. You are not supposed to be in this area between me and Los Zetas.”

“That’s true, patron. It was my fault,” Guerra said. “We had extra bags and needed to get rid of them. Los Zetas allows us little parts of their territory, arrendamiento. It was only a few miles to yours and so we went. I won’t tell you it was the GPS, we had to make our quota…”

“Or what?” 

“We have a boss too. He don’t let us miss our quota. They beat us, especially my cousin. He is smaller.”

 “What if I made you an offer? Manuel could leave your heads somewhere as a reminder to others. But that hardly shocks anymore! What a fucking world when you can see worse on YouTube.”

“A job?”

“First of all, I know who you are, Ernesto Guerra. I hear about you. You have crossed into my territory many times, but this time we got you. I need someone to expand my operations. We are going to push.”

“Where?”

“You know New York?”

“Yes, there two years in and outside of the city. Long Island.”

“A couple of hundred miles from New York, the capital of a state, the one called Massachusetts.  You speak English and know your way around. We’ll get you there. First, you’ll replace local dealers, not on the street, but the ones running the business from their offices and cars.  Second, we’re going to flood the drug market with lots of cheap stuff, especially heroin. We have another way to distribute, this time from the sea. The cheap price will expand our market. Later the price will rise. You don’t mind the sea, do you?”

“I can swim for an hour and the cold don’t bother me,” Guerra said. 

“You will be pushing out people who don’t want to be pushed. Some of them you will put on the side of the road.” The reference to the side of the road was from the cartel wars in Mexico, a convenient place to leave the dead.

“I understand and am not afraid,” Guerra said. 

“You’ll demand loyalty from the street pushers and will give them bonuses for selling our products. They will make more money because we will bring in more customers,” Castilla said. “Aimless American youth will come to us, first for fun and then for necessity. Interested?” 

Si, yes, I give my word,” said Guerra. 

“You like this powerful pistol,” Castilla said, holding the scuffed .357 Smith & Wesson his men had taken off of Guerra. The frame of the gun had to be heavy and strong. Castilla held one of the bullets in his palm. “This bullet could fit a rifle.”

“Yes, patron, they don’t get up and shoot back at me with this one.”

“Let’s see your loyalty,” Castilla said, tossing Ernesto Guerra his pistol and a couple of cartridges. Manual put the front sight of his AK-47 on Guerra’s chest, finger moving from trigger guard to trigger, while Guerra loaded the pistol. 

“Shoot your cousin Mateo. He’s worthless anyway.”

“Please, I can’t do that. He’s my wife’s cousin,” Guerra said. 

“Shoot the dog.”

Copyright 2020 Len Abram

 

SPEAKEASY ANNOUNCES TWO NEW  FREE VIRTUAL AUDIENCE ENGAGEMENT INITIATIVES

When You Can’t Go To The Theatre, The Theatre Comes To You

A play discussion group focused on contemporary female voices and a weekly Q&A with the artists of SpeakEasy’s 30th Anniversary Season are the two new audience engagement initiatives set to debut at SpeakEasy Stage next week.  

All events comprising both these initiatives are free and open to the public.  

To sign-up for any of these discussions, or for more information, the public is invited to contact SpeakEasy Community Programs Manager Alex Lonati at alexlonati [at] speakeasystage [dot] com

First up, beginning Wednesday, May 20 at 5PM, is a five-week half-hour series offering an insider’s guide to the five shows making up SpeakEasy’s 2020-2021 Season, which is also the company’s 30th Anniversary year.

SpeakEasy Producing Artistic Director Paul Daigneault and Community Programs Manager Alex Lonati will be the hosts for lively discussions with the key artists associated with each upcoming show.

The schedule of shows and artists is as follows:

Once On This Island – Wednesday, May 20, 5:00-5:30pm

Artists present: Director Pascale Florestal, Music Director David Freeman Coleman

People, Places & Things – Wednesday, May 27, 5:00-5:30pm

Artists present: Director David R. Gammons, Actress Marianna Bassham, Actor John Kuntz


Slave Play – Wednesday, June 3, 5:00-5:30pm

Artist present: Director Tiffany Nichole Greene

Bright Star – Wednesday, June 10, 5:00-5:30pm

Artists present: Director Paul Daigneault, Actress Laura Marie Duncan, 

Choreographer Misha Shields, Music Director Eli Schildekraut

The Inheritance – Wednesday, June 17, 5:00-5:30pm

Artist present: Director Paul Daigneault

Those interested can join by tuning into SpeakEasy’s Facebook page for each live 30-minute Q&A session. In addition to learning more about each show, participants will also find out about the season selection process, production plans, and the artists’ inspiration, and also be able to ask questions.

Next, on Thursday, May 21, SpeakEasy Producing Artistic Director Paul Daigneault and Community Programs Manager Alex Lonati will kick off SpeakEasy’s Play Discussion group, which will focus on the works of four contemporary female playwrights, and which will, for at least three of the four sessions, have the writers join in the conversation.

The first installment will feature a chat with Mr. Daigneault and Ms. Lonati, who will offer tips to participants on how to read a play.

After that introduction, the group will focus on the following four plays:

  • Cost of Living by Martyna Majok – Thursday, May 28 from 5:30 – 6:30pm
  • Cambodian Rock Band by Lauren Yee – Thursday, June 4 from 5:30 – 6:30pm
  • DIASPORA! by Phaedra Michelle Scott, developed through SpeakEasy’s The Boston Project Thursday, June 11 from 5:30 – 6:30 

Wild Goose Dreams by Hansol Jung – Thursday, June 18 from 5:30 – 6:30pm

Martyna Majok, who won the 2018 Pulitzer Prize for Cost of Living; Phaedra Michelle Scott, author of DIASPORA! ; and Hansol Jung, who wrote Wild Goose Dreams, are currently scheduled to attend the discussion of their plays. 

 All discussions will take place on Zoom, so that everyone can see those participating and share comments.

Scripts will need to be purchased in advance, which will help support the playwrights during this time when all productions are on hold.  The script for DIASPORA! will be distributed in advance for free to all participants since the play is still in development.  

 Each discussion will also be hosted by a veteran Boston actress, who will help facilitate the conversation as well as offer their perspective on the play from an acting standpoint.  At press time, that list was still being confirmed.

Individuals may sign up for as many of these discussions as they like.

Questions on either initiative may be directed to Community Programs Manager Alex Lonati at AlexLonati [at] SpeakEasyStage [dot] com.

Ogunquit Playhouse Artistic DirectorBrad Kenney Checks In With Sally Struthers

Enjoy This Special Treat From Brad And Sally

 

100 years ago: The Law That Gave Birth to the Modern Era of Boxing

100 years ago: The Law That Gave Birth to the Modern Era of Boxing

by

Mike Silver

From 1895 to 1919 professional boxing was either tolerated or outlawed in various cities and states, including New York. The Frawley law, passed in 1911, had created the New York State Athletic Commission to oversee the sport. Some 40 boxing clubs operated under its purview. In 1917, after a boxer was fatally injured in a bout, reformers convinced the legislature to repeal the Frawley law and abolish boxing in the state. The ban lasted for three years. In 1920, after much political maneuvering, professional boxing returned to New York with the passage of The Walker Law.  

Boxing, despite its ups and downs, had always been popular with the general public. Now, on the cusp of the Roaring Twenties, what it needed to realize its full potential was a powerful and stabilizing organizational structure with tighter controls over the sport and greater safety measures. The Walker Law was the answer. Most importantly, it allowed New York City to quickly regain its position as the boxing capital of the world. 

 Named after its sponsor, state senator and future New York City mayor (1926-31), James J. (Jimmy) Walker, the law brought back the State Athletic Commission but with enhanced rules and guidelines. One hundred years ago, on May 24, 1920, it was signed into law by Governor Al Smith and took effect on the first day of September. 

Three commissioners appointed by Governor Smith supervised the sport. The new law mandated the licensing of all persons officially connected with boxing bouts—boxers, managers, promoters, matchmakers, corner men, referees and judges. All shows required a physician in attendance. Matches could not exceed 15 rounds. Within a short time dozens of armories, arenas and stadiums began presenting boxing cards on a regular basis. There certainly was no shortage of boxers. By March of 1924 New York State had licensed 6,123 professional boxers. 

Any person who violated the rules of the commission or engaged in behavior considered detrimental to boxing would risk losing his license. It was the intention of the commission to improve the public’s perception of boxing by attempting (albeit with mixed results) to curtail the influence of gamblers, criminals and other undesirables.    

Of course a prime reason for legalizing professional boxing was the tax revenues that would be realized via licensing fees and a 5 percent tax on the gross receipts of every boxing card. Three months after the first professional bouts were staged under the new law, the sport had already paid $75,000 into the New York state treasury.                                                                                                          

Politicians in other states saw opportunity for increased tax revenues, jobs, and political patronage if they followed New York’s example and legalized boxing under government auspices. Hugely motivating was the 1921 heavyweight title bout between champion Jack Dempsey and the dashing French challenger Georges Carpentier. The bout drew 90,000 fans and nearly 2 million dollars in paid admissions, breaking all previous records in both attendance and gate receipts. Whereas in 1917 only 23 states had officially legalized the sport, by 1925 the number was up to 43. They all used the template of the New York Commission as a guide.

During the 1920s boxing reached unprecedented levels of popularity, even eclipsing baseball in terms of live attendance figures and newspaper coverage. Heavyweight title fights became the most lavish and anticipated spectacle in sports. In 1926 and 1927Jack Dempsey and Gene Tunney drew over 100,000 people for each of their two title fights in Philadelphia and Chicago. 

The social, artistic, and cultural dynamism of the Roaring Twenties, in concert with the media’s focus on celebrities (especially sports heroes and movie stars), glamorized boxing and made Jack Dempsey the first boxing superstar of the twentieth century. But due credit must be given to Tex Rickard whose promotional genius and reputation for integrity was instrumental in revitalizing the sport. Rickard made his headquarters in New York City and his success was responsible for the building of a new and much larger Madison Square Garden in 1925. Under his watch boxing gained a respectability it had never known before. It was Rickard who transformed boxing into popular entertainment for a mass audience. The business of sports entertainment would never be the same.  

The Walker law also was a catalyst for others to hitch their star to boxing. In 1922 Nat Fleischer, a 33 year old sports editor for several New York papers, launched The Ring magazine with Tex Rickard serving as silent partner (Fleischer acquired full ownership in 1929). For the next 50 years “The Bible of Boxing” was the sport’s most important and authoritative trade publication. Fleischer often spoke out against corruption within the sport and advocated for standard physical exams and rules. The Ring “top ten” ratings of contenders for every weight class became a monthly feature of the magazine and under Fleischer’s stewardship was a trusted resource for everyone interested in the sport.                        

Dempsey, Tunney, Rickard, Walker, Fleischer, The Ring magazine, Madison Square Garden, New York City—the timing couldn’t have been more perfect. They all came together in the 1920s to create boxing’s greatest decade. But none of it would have been possible without the passage of the law that allowed it to happen.

Mike Silver’s newest book is “The Night the Referee Hit Back: Memorable Moments From the World of Boxing” (Rowman & Littlefield Publishers, June 2020). 

 

Rest In Peace Pete Rademacher

Pete Rademacher

Olympic Champ Was Only Man

To Challenge For The Heavyweight Title 

In His First Pro Bout

By Bobby Franklin

Rademacher On The Attack Against Patterson

(Pete Rademacher passed away on June 4th. I wrote this column for the Boston Post Gazette last year.)

Pete Rademacher had an outstanding amateur career culminating with a Gold Medal in the heavyweight division at the 1956 Olympic Games in Melbourne, Australia. Rademacher won all three of his bouts by knockout and won the final in first round for a very impressive finale to his performance.

Pete Rademacher, Jose Torres, and James Boyd

Leading up to his Olympic victory Pete showed he was one of the best amateur boxers in the word.. He won numerous titles including the Seattle Golden Gloves, the Chicago Golden Gloves, the All-Army Championship, and the National AAU Title in Boston in 1953. He had a final amateur record of 72 wins against 7 losses.

After winning the Olympic Gold, Rademacher got it into his head that he was ready to fight for the world heavyweight championship. Rocky Marciano had just retired and Floyd Patterson and Archie Moore were signed to fight for the vacant title. This bout would take place in November of 1956, just months after Pete competed in the Olympics. He was convinced he could beat either man. 

The Weigh In

When Patterson won the title Rademacher approached Cus D’Amato, Floyd’s manager, with the idea. Cus, always looking for a soft touch for Floyd, agreed, but told Pete he had to raise $250,000.00 for Patterson’s end of the purse plus put an additional $100,000.00 into escrow in order to ensure a rematch if the unthinkable happened and Floyd lost.

Pete found two backers and they set up a company called Unlimited Enterprises a small manufacturing firm. The idea was for the fight to publicize the new company and Pete’s purse would be his salary as vice president. 

The fight was set in Rademacher’s home state of Washington both because it was the only place it would draw a crowd and the commission there was the only one that would sanction such a bout. Pete has said he was a 10 to 1 favorite not to show up. Truth is, the fight was thought to be so one sided that the odds of 10 to 1 in Patterson’s favor were meaningless as no one was taking bets.

The fight took place on August 22, 1957 in Sick’s Stadium in Seattle. Former light heavyweight champion Tommy Loughran was the referee. A crowd of 16,961 showed up producing a gate of $243,030 far short of the anticipated sell out that would have brought in $400,000.00. There was no live home TV or closed circuit broadcast of the fight. 

The United Press called the match “weird” and Rademacher a “sacrificial lamb”. It is not an exaggeration to say this fight was an embarrassment to boxing. The two leading contenders for the title at that time were Eddie Machen and Zora Folley, and they were both being passed over in favor of an amateur getting a shot at the title. The heavyweight championship had now sunk to perhaps its lowest point ever with this circus. What’s really crazy is that Rademacher managed to come up with the $250,000.00 to pay Patterson. 

Pete Drops Floyd

As for the fight; well, it went longer than anyone expected and Pete showed plenty of courage. He even managed to floor Patterson for a count of four in the second round. The plodding challenger landed a right hand that did the job, but it would be his one moment of glory in the bout. Later, Pete would say it was his biggest mistake as it only made the champion mad.

Patterson would score six knockdowns before sending Rademacher to the canvas for the seventh time for the full count in round six. After the fight referee Loughran said about Pete “He is the most courageous fighter I have ever seen.”

Rademacher vs Paterson

Patterson would continue ducking the top contenders after this fight facing the likes of Brian London and Roy Harris before losing the title to Ingemar Johansson. He would go on to win the title back from Ingo and then fight him a third time. After that he would take on the unranked Tom McNeely before losing the title for the final time to Sonny Liston.

Rademacher would continue fighting and in his next bout was stopped by Zora Folley. He and Folley had been opponents in the amateurs where they traded wins over each other. Pete had a final professional record of 15 wins (8 by KO), 7 losses (6 by KO), and 1 draw. His biggest wins were over George Chuvalo and Bobo Olson. He lost to such men as Brian London, Karl Mildenberger, Archie Moore, and Doug Jones. He would later become a boxing judge and referee. 

Pete Rademacher

Pete eventually went to work for the McNeil Corporation of Akron, Ohio. The company manufactured swimming pool products and Rademacher earned nine patents for products he invented, things such as kick-board training devices for competitive swimmers and wave-quelling lane dividers for pools. After retirement, he served as golf director for the American Cancer Society helping to raise over $1 million for cancer treatment. 

The last I have been able to find out about him is he is living in a nursing home in Sandusky, Ohio. 

While the fight with Patterson was something that never should have been allowed to happen, Pete Rademacher did show real courage in the bout. He was also pretty creative in how he made it all come about. He went on to do a lot of good things for worthy causes, using his fifteen minutes of fame to good advantage, so some good did come from it all. 
 

 

Ogunquit Playhouse Congratulates Wells and Ogunquit High School Graduates

Ogunquit Playhouse staff members welcomed and cheered the 2020 Wells and Ogunquit high school graduates as they made their way past the historic theatre in a 131 car parade on Sunday, June 7, 2020. Each June, Ogunquit Playhouse hosts the Wells High School Convocation at the theatre, where students spend a day preparing for the ceremony under the guidance of faculty and the Playhouse technical crew. Later in the day, families come to watch the students perform, sing songs and deliver messages of inspiration and hope. Traditionally, as part of the ceremony, Ogunquit Playhouse gives each student a voucher to return to the Playhouse to enjoy a show.

This year, due to the pandemic, all such activities were cancelled. But, this did not dampen the spirits of the students or the enthusiasm of the Playhouse staff! Each student received a voucher to use in the future, when the Playhouse is once again open. While the stage was not an option for celebration this year, a lively parade around the front of the theatre made up of smiling, happy and proud students brightened the day!

“Each year it is an honor to welcome all of the Wells and Ogunquit graduating students to Ogunquit Playhouse, to celebrate their great achievements and to wish them well in their future endeavors. One of our top priorities is to provide opportunities for young people to connect to the arts, and theatre in particular, to broaden their perspectives and instill an awareness that will carry with them all their lives,” stated Executive Artistic Director, Bradford Kenney. “While this year broke with tradition, we hope the wonderful memories that were made instead, will be as cherished. We look forward to the day when we can welcome these young graduates into our beloved Playhouse to enjoy a show, but for today, our heartfelt congratulations and all best wishes to the 2020 Wells and Ogunquit graduating class!”

Ogunquit Playhouse will focus on reimagining the 2020 season to carry on its mission and fundraising efforts to ensure the financial viability of the historic non-profit theatre. Public support is crucial in this time of global health and economic crisis. For more information on how to contribute and to stay connected during the coming year, visit www.ogunquitplayhouse.org

Hemingway, Spider Kelly, and the (Lost) Art of Boxing

By

Mike Silver

 “Spider Kelly taught all his young gentlemen to box like featherweights, no matter whether they weighed one hundred and five or two hundred and five pounds.”   

The above quote appears on the first page of Ernest Hemingway’s first major novel, The Sun Also Rises, published in 1926. Hemingway often based his characters on real people. John A. (Spider) Kelly was not a fictional character. He was the boxing instructor at Princeton University for 34 years (1902 to 1936). One of the main characters in the novel, a former collegiate boxing champion, is described as having been trained by Kelly at Princeton. 

By all accounts Spider Kelly, a former professional boxer, was an excellent teacher-trainer.  Hemingway’s sentence is further proof of that. It would do well for today’s trainers to follow Spider Kelly’s example. At a body weight of 119 to 126 pounds a featherweight boxer has to rely on speed and mobility rather than strength and power. He must strive to remain an elusive target while still capable of landing more punches than his opponent. But before he learns how to throw a punch the beginner must be taught proper balance. Like a dancer, a boxer has to maintain balance while quickly changing tempo and direction. Effective footwork is not possible without proper balance. Building on that foundation the student boxer works up to more sophisticated defensive and offensive skills, including knowing what to do when an opponent makes a certain move. 

Three of the greatest boxers who ever lived, Benny Leonard, Sugar Ray Robinson and Willie Pep, were all trained in this manner and used those foundational skills to reach spectacular heights. But any boxer trained in this manner has an advantage over one who was not. 

Willie Pep

So why do most of today’s boxers, irrespective of their weight division, fight like slow lumbering heavyweights who are looking for a knockout with every punch? We see it all the time. They plod forward or back (rarely circling), throw ill-timed punches, and appear to have no coherent strategy.  What used to be called “ring guile” or “craftiness” is missing. Classic defensive techniques such as ducking, slipping, weaving or parrying (common tactics used by the top boxers of past decades) are virtually non-existent. They become easy targets by remaining stationary after delivering a volley of punches. The most common defensive maneuver is to raise the gloves in rope-a-dope fashion and wait for the opponent to stop punching. Very few know how to effectively use the most fundamental punch in a boxer’s repertoire–the jab. Forget about feinting with a purpose or drawing a lead, or knowing how to slip and slide or clinch. Those words are not even in the vocabulary. And whatever happened to body punching? 

In between rounds the corner’s instruction to the boxer is the oft heard and expletive laced “throw more punches!” –which is akin to a basketball coach imploring his team to “put the ball in the basket!” 

Boxing may be the only sport where the further back you go, the better the athletes are.

This dumbed down version of boxing is not new. The overall skill level of boxers has been in decline for several decades. Boxing may be the only sport where the further back you go, the better the athletes are. In fact, it would be more accurate to rename the sport “fighting” because boxing, as many of us “old timers” knew it, no longer exists. There are a number of reasons for this but first and foremost is the lack of qualified teacher-trainers. 

Cus D’Amato

I don’t blame the boxers. It is not their fault. They have the potential to be much better than they are because the ability is there. I blame the trainers who cannot teach what they themselves do not know. Yes, there are a few exceptions. Among contemporary boxers three names come to mind—Gennady Golovkin, Vasyl Lomachenko and Terence Crawford. These very talented athletes display some of the old school moves. Lomachenko (who took ballet lessons as a youth) has excellent footwork. Golovkin has a fine left jab and knows how to set up his power punches. He also understands the value of body punching. Crawford’s speed and instincts are impressive but he tries too hard for a knockout and still has much to learn. If we could time travel these boxers back 60 or more years ago they would have been considered promising prospects. Despite their obvious talent, they are not yet at the level where we would place them among the elite boxers of that era. Perhaps with more experience and exposure to better competition they could have won a world championship back then. But the road taking them to a title bout would have been far more difficult than the one they have traveled. Why? Because in every decade from the 1920s to the 1950s there were dozens of Golovkins, Lomachenkos and Crawfords vying for a contender slot. The competition was brutal. To win one of the eight title belts was truly an extraordinary achievement. 

So where have all the good trainers gone? 

What happened was that boxing’s mentoring system for turning out the next batch of well-schooled trainers began to break down in the decade following the end of World War II. By the late 1950s hundreds of neighborhood arenas, boxing’s farm system for developing new talent, had closed shop because they could not compete with free televised boxing almost every night of the week. Post war prosperity and the G.I. Bill further thinned the ranks of potential professional boxers. Gym memberships declined causing many to close. In the big cities the ranks of master teacher-trainers, never a huge number, began to be depleted. They either retired or left the sport to pursue other occupations and took their knowledge with them. 

Mike Capriano

By the 1970s only a handful were left. This caused a disconnect in the mentoring system. A few dinosaurs continued to teach into the 1980s—Eddie Futch, Angelo Dundee, Cus D’Amato, and Mike Capriano—but they were the last of the breed. The next generation of trainers (who came of age after the 1980s) were not of the same caliber and lacked the knowledge and experience of the old school masters. Most of them were part time instructors who held full time jobs during the day and taught boxing in the evenings. In time mediocre fighters became mediocre trainers. It is no surprise that the two best teacher-trainers today are Teddy Atlas and Freddie Roach. Atlas was mentored by Cus D’Amato and Roach was trained by Eddie Futch. 

OK. Enough complaining. Is there anything that can be done to improve boxers’ skills in the absence of quality teachers? (I won’t even attempt to address the insane organization of professional boxing. That mess is beyond help). 

Over the past 40 years I have collected dozens of boxing instruction books from the mid-1800s to the present. Most have some useful information but I was always on the lookout for a manual that was all encompassing. My search ended with the discovery of two indispensable books that should be required reading and study for every current or wannabe trainer and boxer.

Naval Aviation Physical Training Manual of Boxing

The greatest boxing instructional book ever written is the 286 page Naval Aviation Physical Training Manual of Boxing, published in 1943.  It was prepared by and for the officers in charge of the instruction of Boxing in Naval Aviation.  Keep in mind this book was published at the height of World War II. As explained in the introduction, boxing was part of Naval Aviation training because it was thought to “quickly acclimate the body and mind to the violence and shock so foreign to modern day youth, yet so absolutely essential to fighting men.” Boxing, it was felt, helped the cadet make that transition. I am astounded by the thoroughness of this book. You will not get better and more detailed instruction anywhere else. Example: It not only describes in detail every conceivable punch and defensive maneuver but also dozens of long forgotten combinations and coaching hints. The book was obviously written by very capable boxing trainers (although none are identified by name). It includes many photos and is available on Amazon but costs about $130 dollars. For those serious about seeking knowledge it’s worth every penny.

The second outstanding instructional book I recommend is Boxing: A Self-Instructional Manual by Edwin L. Haislet, first published in 1940 and re-issued in 1982. Haislet was assistant professor of physical education, boxing coach University of Minnesota, and director of the Northwest Golden Gloves Tournament. Before I discovered the Navy book this was my gold standard for instructional manuals. It is 120 pages, illustrated, and is an excellent source of valuable information. A reprint selling for $30 dollars is available on Amazon.

I would also strongly recommend anyone interested in why and how the sport devolved over the past thirty years to read my first book, “The Arc of Boxing: The Rise and Decline of the Sweet Science”.  It contains extensive commentary by several top trainers, including Atlas and Roach. 

If there were a course given to certify and license boxing trainers (and there certainly should be) these three books would be required reading. 

One final note: Thanks to You Tube we have access to films of some of the greatest boxers of the twentieth century. It would be beneficial if these films were studied, but understanding would be enhanced if the aforementioned books were read first. There are scores of videos to choose from. I have selected five—one each from the 1920s, 30s, 40s, 50s and 60s to serve as an example of the type of artistry in boxing that no longer exists.

Mike Silver’s newest book is The Night the Referee Hit Back: Memorable Moments From the World of Boxing.






Ogunquit Playhouse to Launch On-Line Education Programs and Youth Programming Camps for 2020

Ogunquit Playhouse is expanding its educational offerings to include a new On-Line Academy with programs beginning Monday, July 27. The On-Line Academy will be part of the recently developed Ogunquit Playhouse Arts Colony – an homage to Playhouse founder Walter Hartwig, who created the education-based Manhattan Theatre Colony, that was dedicated to teaching all aspects of theatre. The Arts Colony operates with the belief that theatre is a profound tool for students to exercise their imagination, and to discover their innate skill set. The Ogunquit Playhouse education programs strive to create new opportunities for students’ success, to increase self-confidence, teach goal orientation and professional etiquette, strengthen collaborative skills, improve listening skills, and prepare students to perform at personal best standards. As students assimilate to learning and performing via an on-line platform, they in turn build confidence and develop new skills. Parents are invited to view student’s streamed performances.

For 2020, the On-Line Academy has been created to connect with students when in-person programs are on pause. The new education programs kick off Monday, July 27 and include offerings for students ages 5 through adult. Professional teaching artists from the Ogunquit Playhouse stage, Broadway, National Tours, and leading Regional Theatres lead each program, which are designed for small groups. In addition, each student will have the opportunity to sign up for sessions that include only one to three people. 

Ogunquit Playhouse On-Line Academy programs enrollment begins on Thursday, July 16, and continues Monday – Friday, 10AM to 4PM. To register call 207-646-5511. There is a limited class size, and all classes are subject to cancellation if registrations do not meet a minimum of six students ages 5 to 7, and twelve students ages 16 and up. Each program incurs a $10 non-refundable registration fee. For more information email registration [at] ogunquitplayhouse [dot] org or visit: www.ogunquitplayhouse.org.

Ages 5 to 7 – Two-day on-line camps are geared to engage our younger students in various activities using theatre techniques and household items. Students will meet from 9 to 10AM on Monday and Wednesday via ZOOM. Parents or guardians are encouraged to participate with their child in these fun and innovative sessions. Drama Games: Jul 27 and 29; Build-A-Prop: Aug 3 and 5; Arts & Crafts for the Stage: Aug 10 and 12; Musical Scavenger Hunt: Aug 17 and 20. Each session is $75 per child.

Ages 8 to 12 – One-week, on-line camps include musicals written especially for on-line programming and specifically chosen and designed to be performed via ZOOM. The Broadway Experience includes programming and songs specifically chosen from some of Broadway’s most popular shows The small classes allow students individual attention and a chance to work one on one with instructors. Streaming of the final performances will be available for a small donation to parents, families and friends who wish to experience the culmination of the students’ work. Super Happy Awesome News: Jul 27 to 31; The Show Must Go On Line: Aug 3 to 7; The Broadway Experience – #1: Aug 10 to 14; The Broadway Experience – #2: Aug 17 to 21. Sessions run Monday through Friday from 9AM to Noon. Each session is $225 per student.

Ages 13 to 18 – The Broadway Experience one-week on-line camps include programming and songs specifically chosen from some of Broadway’s most popular shows and designed to be performed via ZOOM. The small classes allow students individual attention and a chance to work one on one with instructors. Streaming of the final performance will be available for a small donation to parents, families and friends who wish to experience the culmination of the students’ work. The Broadway Experience – #1:  Jul 27 to 31; The Broadway Experience – #2:  Aug 3 to 7; The Broadway Experience – #3: Aug 10 to 14; The Broadway Experience – #4: Aug 17 to 21. Sessions run Monday through Friday from 9AM to Noon. Each session is $225 per student.

Ages 16 and UpPerformance Workshop Tuesdays and Wednesdays meet via ZOOM twice a week for 90 minutes over 3 weeks. Each Workshop is taught by professional teaching artists and designed to be a unique and exciting learning experience intended to stretch each participant’s knowledge and talent. All levels are welcome and encouraged to take both Tuesday and Wednesday sessions if preferred. No experience is necessary to participate in these classes. Tuesday Session #1: Jul 28, Aug 4, 11. Tuesday Session #2: Aug 18, 25, Sep 1. Wednesday Session #1: Jul 29, Aug 5, 12. Wednesday Session #2: Aug 19, 26, Sep 2. Sessions run from 4 to 5:30PM. Each session is $150 per person. 

Ages 16 and Up – Broadway Guest Star Workshops meet twice a week via ZOOM for 90 minutes. Each Workshop will be taught by a professional Broadway artist. This unique and exciting program is designed to stretch each participant’s knowledge and talent. No experience is necessary and all are welcome. Thursday Sessions: Jul 30, Aug 6, 13, 20. Sessions run from 11AM to 12:30PM. Each session is $75 per person. 

Ogunquit Playhouse 1954

Ogunquit Playhouse 2020 season has been cancelled due to the COVID19 pandemic. It will focus on reimagining the season to carry on its mission and fundraising efforts to ensure the financial viability of the historic non-profit theatre. Public support is crucial during this global health and economic crisis. For more information on how to contribute and to stay connected during this year, visit www.ogunquitplayhouse.org

About Ogunquit Playhouse:
Ogunquit Playhouse, is a 501(c)3 not-for-profit organization listed on the National Historic Register. Its mission is to produce world-class performances, and new works, and preserve the historic playhouse for future generations. Follow Ogunquit Playhouse on Twitter (@OgunquitPH) and on Facebook (facebook.com/OgunquitPlayhouse) for behind-the-scenes info, photos and fun throughout the season. For more information visit www.ogunquitplayhouse.org

Godoy Was Good

Held A Prime Joe Louis To A Fifteen Round Split Decision

By Bobby Franklin

Arturo Godoy

In 1937 Joe Louis won the World Heavyweight Championship from James J. Braddock. Over the next 12 years he defended the title 26 times, a record. Of those 26 defenses only three went the full 15 round distance, and out of the three opponents who took him to the closing bell, two were kayoed in rematches. The third, Tommy Farr, only fought Joe once. 

Farr is remembered for the courageous and tough battle he put up against Joe. There have been some who have said he deserved the decision, but that is not true. In Tommy’s own account of the fight he said Louis clearly beat him. Unfortunately, Farr never got a rematch and the big payday it would have brought him. Louis was willing, and actually wanted to fight him again, but as I have written in an earlier column, the sleazy people who populate boxing sabotaged Tommy’s shot. Most notably, Joe Gould who took over his management in the United States.

In Joe’s last two title defenses he fought Jersey Joe Walcott. In their first fight Walcott took Louis the entire fifteen rounds decking the champion on the way to losing a split decision. In the rematch Louis kayoed Walcott in the 11th round and then retired after the fight. 

There was one other man who managed to take Louis the fifteen round route. This man also was the only man other than Walcott to hold Joe to a split decision. While the Louis that Walcott faced was nearing the end of his career and was past his prime, the man who gave the champ such a difficult time of it did so in 1940 when Joe was at the peak of his career. 

Oddly, out of the three men who took Louis the distance this man is the least remembered. His name was Arturo Godoy and he was quite the fighter. 

Godoy was a seasoned veteran when he fought Louis. Hailing from Chile, Arturo had a long run and was fighting his 71st fight when he stepped in to challenge for the title. with two wins over Tony Galento as well as victories over Luis Firpo, Jack Roper, and Tommy Loughran, Godoy had a reputation for being a tough customer. He also was extremely strong and had a very unorthodox style. This combined with unending stamina made him a force to be reckoned with. 

When the fight was announced it was not considered to be a difficult one for the champion. It was held at Madison Square Garden on February 9, 1940 before a crowd of 15,567 people. What that crowd got to see was a fight that wasn’t pretty to look at but turned out to be Louis’s toughest challenge up to that point.

Godoy fought from a very, very low crouch while crowding Joe and not giving him punching room. At times Arturo crouched so low that he was practically sitting on the canvas. It is no secret Louis had trouble with opponents who fought out of a crouch. Max Schmeling had kayoed hims a few years earlier fighting in that way, and Tony Galento had decked him when he threw a left hook from a crouch. 

At the end of 15 rounds the scorecards were announced and the decision was split with Joe coming out on top. The referee and one judge had it in Joe’s favor 10-5 and 10-4 respectively white the other judge had Arturo on top by 5-10. United Press saw it as a draw. The crowd booed the decision, but that may have been more about the poor performance from Louis as it was from the feeling that Godoy actually won.

Godoy and Louis On The Radio

No matter the fairness of the decision, the fact is Godoy gave Joe a very tough night. So, why is this bout not remembered in the way the Farr fight is? Well, for one thing, Joe never fought Tommy again while he stepped right back into the ring with Arturo just four months later. Louis called the first Godoy fight “The worst fight I ever had”, and he wanted to show he was better than how he performed that February evening.

One thing about Louis, he always performed better in rematches, and the Godoy fight was no exception. Joe and trainer Jack Blackburn went to work in the gym and came up with a strategy for dealing with Godoy’s awkward style, and when the bell rang at Yankee Stadium on June 20, 1940 before a crowd of 27, 286 fans it was a different Joe Louis who came out against the challenger. 

Louis vs Godoy 2

Employing a lethal right uppercut and keeping his punches very short and inside, Joe went to work busting up the game Chilean challenger. By the 8th round Godoy’s face looked like what the Associated Press called “barbecued beef”. Godoy had been dropped once near the end of the 7th round and again twice in the 8th before the referee called a halt to the carnage. Godoy tried to push past the referee and continue fighting and had to be restrained, but then went over and congratulated Louis. After the fight Joe said “That’s the worse beating I ever gave a man”.

Arturo Gody And HIs Wife

So, to answer the question of why Arturo is not remembered in the way Tommy Farr is for his galant 15 round go against Joe Louis is because Farr never fought Joe again so, as most likely would have happened, he did not get kayoed by him. While Joe got revenge on Arturo just 4 months later and proved beyond a doubt who the superior fighter was. 

Never the less, Godoy deserves to be remembered for the incredible battle he gave Joe Louis on a February night in 1940. He was the only man to take the prime Louis fifteen rounds to a split decision, and that was a monumental feat.

Arturo Godoy fought for over ten more years after the Louis fight. He ended his career in 1951 with an outstanding record of 127 fights, 91 wins (51 by KO), just 22 losses, 12 draws, and 2 no contests. He passed away in his home country of Chile in 1986 at the age of 73. 

Godoy was a popular and exciting personality who lit up a room. He was well liked in the states and loved in Chile. I’m sure Joe Louis never forgot him.

https://youtu.be/bROkH_l-81E

Book Review: “The King Of Warsaw”

The King of Warsaw, Szczepan Twardoch. Translated from Polish by Sean Gasper Bye. 379 pages. Amazon Crossing, 2020. 

Reviewed by Len Abram

Movies about boxing and boxers thrive, at least 120 of them since 1931. A Spanish film in 2016, Sangre en la boca (Tiger, Blood in the Mouth), concerns an older boxer, who should retire but returns to the ring. In America, two Creed movies, 2015 and 2018, known by Roman numerals like the Rocky films, are making a saga out of young Adonis “Donnie” Creed’s boxing career. Adonis’s trainer is an aged Rocky Balboa, who fought Adonis’s father into cinematic legend and box office history. A third Creed movie is in the works. 

In every film, the boxer has something to prove to himself and to others. He disciplines his body and his mind for the moment of truth. The expression “the comeback,” the return to the fight, originates from the sport. The public doesn’t follow boxing as it did in boxing’s Golden Age of the last century, but boxing retains its punch as a metaphor for the individual, risking all, to fight for self and principles in the ring of life. 

There are far fewer boxing novels than boxing films, but the theme remains: the boxer has something to prove and the ring is his (or her) moment of truth. Two of the best-known are James Jones’ From Here to Eternity (1951) and Leonard Gardner’s Fat City (1972). In 2020, Polish novelist Szczepan Twardoch’s The King of Warsaw is a welcome addition to the genre. 

Twardoch’s setting is Warsaw of 1937, the height of Polish national power before disaster. The novel anticipates the tragedy of Poland, which by 1939 was conquered and dismembered.

Twardoch’s setting is Warsaw of 1937, the height of Polish national power before disaster. The novel anticipates the tragedy of Poland, which by 1939 was conquered and dismembered. By 1945, six million of its citizens were killed, half of them Jewish. After the war, Russia occupied Poland for decades. The Polish people have fought for their identity and land. Boxing is a theater for that struggle. 

The King of Warsaw is the heavyweight champion of the amateur fighting clubs in the city. The matchup is between the “two Warsaws,” the Warsaw League, who were Gentile boxers, and the Maccabis, Jewish fighters. Maccabis or Maccabees are Jewish sports groups, named for the Maccabees, who won a lopsided victory over Israel’s enemies over two thousand years ago. Although only about ten per cent of the ten million population of 1937, Jews were well represented in Poland’s armed forces and in its professional class; moreover, Jews had lived in Poland for a thousand years. Liberal policies attracted Jews from Germany and Russia. But the anti-Semitism of Hitler’s Germany encouraged local anti-Semites into action. 

The boxing contests in the novel begin with different weight classes, from flyweight until the most prestigious, the heavyweight. The crowds have allegiances to the boxers, whom they cheer or boo. The two boxers in the ring represent those in the audience, who share religion or ethnicity. The match has an added meaning beyond sport. For the Jews, a victory in boxing suggests that they as a people can defend themselves.

To add realism to his fiction, Twardoch mentions an actual featherweight, Teddy or Tadeusz Pietryzkowski, the Warsaw champion in 1937. In the 1940s, the Germans arrested and sent Pietryzkowski to concentration camps at Auschwitz and Neuengamme. There, he fought for the amusement of SS guards and likely saved his life by boxing. 

The heavyweight bout is between Warsaw League’s Andrzej Ziembinski and Maccabi’s Jakub Szapiro. Ziembinski is from a powerful family, whose politics tend toward fascism, whereas Szapiro is a crook and a thug. He runs a loan sharking business, among other criminal enterprises, and he’s a murderer.  To be fair, the boxer has had brutal experiences, in prison and in war. But Szapiro is no hero– except when he steps into the ring. 

As a Jew, he could assimilate. He has money enough to move to a Gentile neighborhood; he doesn’t follow any Jewish dietary rules or attend services; he didn’t marry the mother of his children. Still, he remains loyal. On his right hand are tattooed a sword and the Hebrew letters for death, Mem, Vav. Vav, Tof. In the ring, he knows he represents more than himself, a people battling against increasing anti-Semitism, about to turn deadly.  

Unlike his strong but plodding opponent, even at age 37 Szapiro is described as “beautiful,” a modern King David, the warrior-poet hero of the Jews. Szapiro has transformed his 203-pound body into a kind of fighting machine through his will, where his body “drilled, beaten brutally in training—submitted to him, as though stretched on internal springs….” Twardoch knows how a fighter like Szapiro brings the power of his body to deliver the punch and still protect himself, basic boxing form: 

“Power comes from the legs. The soles of the feet, their inner edges, knees pulled in, everything very springy, the right glove protects the jaw from the right side, the left shoulder, the elbow tucked in, protects it from the left. And when he strikes, his whole body snaps together in a single burst of energy.”

As a criminal, Szapiro has plenty of fights and battles, to which he brings brass knuckles and pistols and a knife, along with his fists and feet, but as a boxer, a competitor, following rules of sportsmanship, becoming King of Warsaw is his final match.   Boxing has been a large part of his life. Like so many ex-boxers, he trains youngsters how to wrap their hands, how to build strength and stamina, how to deliver a punch and how to protect themselves while they attack. Like so many, he wants to pass along a lifetime of skills and experience.  

But his life as a criminal, as well as his vanity in being King of Warsaw, with power and prestige, these keep him in Poland when Jews, like his Zionist younger brother, believe that Poland and Europe are too dangerous. A thousand years of Jewish co-existence with their Polish neighbors are not enough to protect them. Szapiro’s tragedy is that he misses his chance.  

Len Abram is the author of the novels Debris and Medallion. His newest book is Empty Doorways.

Ogunquit Playhouse Re-Opens with an Exclusive Open Air Playhouse Patio Cabaret Series, Welcoming Back Ten of Broadway’s Finest Voices! 

The Summer lives on for Ogunquit Playhouse, as we re-open our immaculate grounds for a limited seating, COVID-safe, open air Playhouse Patio Cabaret featuring some of Broadway’s finest alumni vocal talents from our most popular shows including Jersey Boys, Million Dollar Quartet, Smokey Joe’s Cafe, Kinky Boots, and more! This 10-week series offers 50 patrons the opportunity to enjoy music they’ve come to know and love, in an idyllic setting, escaping the stress of today’s world, if only for an hour. Beginning August 7 and running through October 11, each week will feature four performances (Friday 7:30PM, Saturday 4:00 and 7:30PM, Sunday 1:00PM) from Broadway and veteran Playhouse performers, sharing music and memories in an intimate cabaret environment. 

Opening the Playhouse Patio Cabaret August 7 through 9 is Nat Zegree (Jerry Lee Lewis in 2015 and 2016’s Million Dollar Quartet) whose energetic stylings from over, under, and behind the piano have become legendary. August 14 through 16 welcomes back Eddie Clendening (Elvis in 2017’s Heartbreak Hotel, and the original Elvis in Broadway’s Million Dollar Quartet) and his passion for classic Rockabilly music with a powerful tribute to The King of Rock ‘n’ Roll. August 21 through 23 brings home fan favorite Jonathan Mousset Alonso (Frankie Valli in 2018 and 2019’s Jersey Boys) for a musical celebration of The Four Seasons and America’s greatest composers. We round out the month from August 28 through 30 with the velvet vocal stylings of Kyle Taylor Parker (Lola in 2019’s Kinky Boots, the Off-Broadway transfer of Smokey Joe’s Cafe), whose evening of pop, soul, and Broadway standards is par excellence. 

The weekend of September 4 through 6 features Maine native Scott Moreau (Johnny Cash in 2015 and 2016’s Million Dollar Quartet) with an evening of music honoring the legendary Man in Black. September 11 through 13 celebrates the return of Carter Calvert (Patsy Cline in 2012’s Always… Patsy Cline and original Broadway cast of It Ain’t Nothin’ But The Blues), whose stories and songs are woven into a captivating and endearing evening of Patsy Cline’s music. September 18 through 20 welcomes home Kurt Jenkins (Buddy Holly in 2012 and 2013’s Buddy: The Buddy Holly Story) whose light-hearted musical revue features the best songs from the early days of Country, Rock ‘n’ Roll, and Rhythm & Blues. And the month wraps up with Andy Christopher (Bob Gaudio in 2018 and 2019’s Jersey Boys) sharing his take on the music of Hank Williams, Roy Orbison, The Beatles, and more, from September 25 through 27. 

Matt Magnusson (Tommy DeVito in 2018 and 2019’s Jersey Boys) ushers in the month from October 2 through 4, with a mix of music theatre-goers love, as only he can deliver it. And we close out the series October 9 through 11 with the energy and passion of Jelani Remy (2018’s Smokey Joe’s Cafe and the Off-Broadway transfer, and on Broadway as Eddie Kendricks in Ain’t Too Proud), whose shining star delivers a feast of pop and musical theatre standards as a love letter to Broadway. 

With 16 tables spaced eight feet apart, all more than 14 feet from our new Playhouse Patio Cabaret stage, patrons will be able to enjoy a socially distanced evening with access to cashless concessions, frequently cleaned and handicapped accessible restrooms, and a hand washing station. Masks will be required to enter and exit the grounds, as well as while traveling between seating and other areas of the property. Masks will be made available for those who do not bring one. The Playhouse staff is going above and beyond to ensure the enjoyment and safety of all our guests and performers. 

Playhouse Patio Cabaret seating goes on sale Monday, August 3 at 10:00AM both online at ogunquitplayhouse.org and through our Box Office at 207.646.5511. Seating is by table, priced as $118 for a table of two, and $236 for a table of four, limited to 50 patrons per performance. Ticket price includes one drink per person. In the case of a cancellation for inclement weather, every attempt will be made to reschedule the performance for Sunday at 4:00PM or 7:30PM that same weekend. Given the unique circumstances of this exclusive event, there will be no refunds or exchanges. For more details please visit our website or reach out to the Box Office staff via email at boxoffice [at] ogunquitplayhouse [dot] org 

As always, your support of Ogunquit Playhouse during this challenging time is most greatly appreciated. If you cannot attend the Playhouse Patio Cabaret series and would like to make a donation to our Save the Playhouse campaign, please visit https://tickets.ogunquitplayhouse.org/donate/contribute.

At The New Garden Gym When It Was Hot We Used The O.W. (Open Window)

By Bobby Franklin

Amateur Star Don Drake And Trainer Bill Ebel By The Entrance To The Gym

Today, I was in downtown Boston for an appointment, and when I was finished with my meeting I thought I would take a walk over to Friend Street where the old New Garden Gym was located. The site of the first New Garden is now a parking lot, but the building that housed the second one is still standing at 254 Friend Street and has been converted into condos.

It was quite hot today as it has been for much of this summer. The sun was shining and the sky was beautiful, but the heat was scorching. I remember many times heading into Friend Street for a workout on such a day back in the 1970s. I didn’t have air conditioning in my car so the ride in was not the most comfortable. I used what we called 4/60 air conditioning. That’s when you roll down all the windows and go 60 miles an hour to try and stay cool. It didn’t always work that well in Boston traffic. 

The Two Windows On The Right Were Our AC.

By the time I would arrive at the gym I was not in need of a warmup as I already had a good sweat going. I would climb the three rickety flights of stairs up to the 4th floor where the tiny gym was located. I don’t think many if any boxing gyms back then had air conditioning. They couldn’t afford it. I also think the old time trainers figured it would only make the fighters soft. 

When the New Garden Gym moved to its second location across the street from where it originally stood, it had to be downsized a lot in order to fit into a much smaller area. The full ring would not fit in the new space, so it was cut in half. It made for some close quarters when sparring. In fact, after having boxed in that ring for quite a few months, I was not prepared for what would happen when I had my first amateur fight. 

Jack O’Halloran Hits The Bag At The New Garden

The night I climbed into the ring in Somerset, MA and the bell rang it was the first time I was in a regulation size ring. I felt like I had walked into a ballpark. It seemed enormous, and that’s because it was at least twice the size of the New Garden ring. I also recall the surface feeling very soft under my feet, almost like walking on sand. This could have been because there was too much padding under the canvas, or more likely because the floor of the ring on Friend Street had nothing under its canvas. 

Most days when you went to the gym Al Clemente and Johnny Dunn would be there. At that time they were the two best known trainers in the Boston area. The door to the place was at about the midpoint of the rectangular shaped space. If you looked to the right when walking in you would spot Al and Johnny at the far end near two windows and a pay phone. There were actually four windows there but two were blocked by lockers.

Vinnie Curto At The New Garden

You would think such a small space that high up in a building on a sweltering summer day would be a sweat box, and while it wasn’t cool it was actually quite bearable. The reason for this was those two windows which were kept wide open. It turns out that when the old gym across the street was torn down and left as a parking lot, it left an open space over which you could see the Expressway and not far beyond that was Boston Harbor on the other side of the North End. 

In the afternoon the sun would have moved to the west which was to the back of the building, and a nice ocean breeze would usually kick up. Now, of course, that breeze would pick up a few extra ingredients on its way from the harbor to the confines of the pugilistic academy we were all training in. There would be the salt air along with the aromatic delights of authentic Italian cooking taking place in the North End, but there was also the fragrant exhaust produced from the perpetual traffic jam on the Expressway. By the time it all wafted in through the window next to Al Clemente it was quite the mixture. It then combined with the smell of cigar smoke and lineament that was ever present in the gym. 

Johnny Dunn With Ron Stander After The Frazier Fight.

Most of you who have only lived in today’s sterile environment are probably gagging at the thought of this, but in my memory it is a sweet perfume and I would give anything to be there breathing it in again. To those of us spending a hot afternoon working out on Friend Street it was as refreshing as being on the beach. 

It is said that smell is the sense that holds the strongest memories. If I could, I would bottle the scent that used to permeate the New Garden Gym back in the 1970s so whenever I wanted to remember those wonderful times in that broken down old gym I would just have to take a whiff and be back there again. I have never been in a gym since that comes close to the charm of that old place. I sure do miss it.

In Tribute to Wilbert “Skeeter” McClure: From Pug to Ph.D.

By

Mike Silver

Dr. Wilbert “Skeeter” McClure, the former professional boxer, passed away last week at the age of 81. Between 1958 and 1960, Skeeter McClure won virtually every important national and international amateur boxing championship including Amateur Athletic Union (AAU), Golden Gloves (Chicago and Inter-City), Diamond Belt, Tournament of Champions, and Pan American Games. The crowning achievement to his brilliant amateur career was winning the Olympic Gold Medal in the light-middleweight divisionat the 1960 Olympics in Rome, Italy.

McClure’s roommate at the Olympics was another Gold Medal winner named Cassius Marcellus Clay. At that point, McClure was considered to be a more accomplished boxer than Clay. But whereas Clay, later known as Muhammad Ali, won the professional heavyweight championship in 1964 and became the most recognized face on the planet, McClure’s once promising professional career stagnated, never living up to expectations. One wonders how things might have turned out had McClure, like Clay, been guided by the savvy Angelo Dundee instead of the incompetents with whom he entrusted his professional boxing career.  

Skeeter, Cassius Clay, Eddie Crook, Rome 1960

It is to McClure’s everlasting credit that he did not let the terrible mismanagement of his professional boxing career stop him from achieving great success in an entirely new profession. McClure had a college degree in literature and philosophy. After his pro career ended, he returned to school where he earned a master’s degree in counseling and, in 1973, a doctorate in psychology from Detroit’s Wayne State University. The Ohio native joined the teaching staff of Northeastern University in Boston, where he taught courses in counseling and psychology for five years. Over the next 20 years, McClure built a successful private clinical practice. In addition, he operated a consulting firm that provided corporations, non-profit foundations, and police departments with education and training in stress management, conflict resolution, team building, and performance evaluation.

The history of his pro boxing career serves as a primer for how to ruin a brilliant young prospect through appallingly careless matchmaking.

Considering his post-boxing success, one might ask if it makes any difference that Skeeter did not win a professional boxing championship. I believe it absolutely does make a difference. McClure dedicated 17 years of his life to the sacrifice and discipline it takes to master the toughest of all sports. He had it within him not only to win a professional boxing title, but also to achieve all-time great status perhaps equal to or even exceeding that achieved by Muhammad Ali. Bad decisions made by the people he trusted to guide him to a title destroyed those dreams. The history of his pro boxing career serves as a primer for how to ruin a brilliant young prospect through appallingly careless matchmaking. 

As an Olympic gold medal winner, McClure would be a hot commodity if he were to turn pro today, especially considering that he was a college graduate. But the scenario in 1960 was quite different from today. An Olympic title, while desirable, did not automatically insure a megabuck promotional contract or a lucrative television deal. 

After considering several management offers, McClure signed on with a wealthy Ohio businessman whose hobby was managing professional fighters. This person hired a trainer who had been affiliated with Archie Moore, the great light heavyweight champion. Regrettably for McClure, both the businessman and the trainer proved to be clueless in the ability to make appropriate matches for the young phenom.  

Skeeter vs Carmelo Bossi.1960 Olympics

McClure was drafted into the Army directly after the Olympics, but he was able to turn pro and fight several times while on leave. He won his ninth straight pro fight June 30, 1962 – a 6-round decision over Harold Richardson at Madison Square Garden. Teddy Brenner, the Garden’s matchmaker, was impressed with McClure’s performance and his sterling amateur background. Television was in need of new faces to fill a weekly schedule calling for almost fifty Garden main events per year. So, with a grand total of nine pro fights (5 KOs) and 39 rounds of professional experience, McClure was signed to fight the South American middleweight champion Farid Salim on August 4, 1962 at Madison Square Garden in front of a nationwide television audience. Salim, a rangy 6’ 2” middleweight had lost only two of forty professional fights. 

(Note: The following are comments and direct quotes by McClure from his interview with this author that took place in 1998.) 

McClure was excited to be headlining at the world famous arena and wanted to be ready for his first major test as a pro.  I asked my trainer:Is he a boxer? Does he have fast hands? What’s he got?’ And the answer I received was: ‘I don’t know.’   What the [expletive]! My first TV fight…10 rounds…and the son-of-a-gun doesn’t know anything about my opponent! No one [today] would do that to a fighter with a Gold Medal.”  McClure shook his head in disgust.  It was the same thing with everyone else I fought. I’d ask: ‘What has he got?’  Every first round was a surprise.

“McClure moves with the grace of a young Ray Robinson, hits with authority, and fights back furiously when hurt.”

Despite the lack of advance knowledge, the former Olympian, a 12-to-5 underdog, was more than up to the task. He won a unanimous decision. His superlative boxing skills were a revelation to many who witnessed the bout. One reporter wrote:  McClure moves with the grace of a young Ray Robinson, hits with authority, and fights back furiously when hurt. Comparing a boxer with only ten pro bouts to Robinson, the greatest fighter who ever lived, was a huge compliment. More experience before taking on top contenders was all that McClure would have needed in order to realize his full potential.  

After four more fights, McClure was rated the eighth best middleweight in the world. But it was all happening too fast. There was little respite from one hard match to the next, all against top opposition. One didn’t have to be a boxing expert to know that McClure was being rushed into matches with fighters he should have avoided at that stage of his career.  At some point, the boxer must be tested against a quality opponent to see what he’s got, but the timing has to be right. Unfortunately, instead of being handled like a precious diamond in the rough that needed a master craftsman to cut and polish it, McClure was thrown to the lions while he was still learning the ropes as a pro. Considering his spectacular amateur accomplishments and the tremendous promise shown in his early professional bouts, the ruination of that great potential, through no fault of his own, makes Wilbert Skeeter McClure the most poorly managed fighter in the history of the sport. 

This is how it evolved: Six weeks after the bout with Farid Salim, McClure returned to his hometown of Toledo, Ohio and won a unanimous 10-round decision over tough Tony Montano, a 37-bout pro who’d competed with several world ranked boxers. Three weeks after the bout with Montano, McClure was back in the Garden meeting 63-bout veteran Gomeo Brennan. Once again displaying fighting spirit and superb boxing smarts, McClure won a hard-fought 10-round decision over a far more experienced opponent.  In early 1963, he returned to Toledo to outpoint former welterweight contender Ted Wright, a veteran of 60 professional bouts. 

Luis Rodriguez vs Skeeter McClure

Amazingly, despite his limited professional experience, he was good enough to be competitive with these seasoned veterans, even outpointing them, but every fight was tough. He certainly wasn’t being overprotected, that’s for sure. In fact, in his 33 professional fights, only five opponents had losing records.  As if to emphasize this point, in his next fight, on October 18, 1963, McClure was matched against the great former welterweight champion Luis Rodriguez in yet another nationally televised fight from Madison Square Garden. 

Rodriguez was a substitute for Jose Gonzales, a granite-chinned contender who six months earlier had withstood the bombs of “Hurricane” Carter and stopped the feared puncher on a cut in the sixth round. When Gonzales was injured in training, he pulled out of the scheduled bout with McClure; Luis replaced him. A bout with Gonzales would have meant another punishing contest for McClure, but taking on Rodriguez made even less sense. 

McClure didn’t have to ask about Rodriguez. The great Cuban boxer was a former welterweight champion and one of the ten best fighters in the world. His only losses in 55 bouts were against Emile Griffith and Curtis Cokes. Rodriguez was capable of beating the world’s top welterweights and middleweights. He had scored a stunning ninth-round knockout of middleweight contender Denny Moyer in his most recent fight. Luis had a total of 430 professional rounds compared to McClure’s mere 14 fights and 85 rounds. 

McClure knew that he was not ready for Rodriguez. He told his manager and trainer that he thought they were crazy for accepting him as an opponent at this stage of his career.  We argued for two days, said McClure. I was just so tired of all this crap. Isolated in a remote New Jersey training camp, the young fighter was fatigued and disgusted. But, his handlers eventually convinced him to accept the match, saying that his weight advantage of nine pounds would give him an edge. 

Meeting a fighter of Rodriguez’s stature in his 15th professional bout was both negligent and stupid. Compare it to the early career of future middleweight champion Marvin Hagler who turned pro after winning the National AAU light-middleweight championship in 1973. In Hagler’s 15th pro bout, he won a 10-round decision over Sugar Ray Seales, the 1968 Olympic gold medalist. It was Seale’s first defeat in 22 bouts. Hagler’s next two opponents had a combined record of 5-14-3.  Another future middleweight champion, Roy Jones Jr., a light middleweight Silver medalist in the 1988 Olympics, had a spectacular amateur record similar to McClure’s.  In his 15th pro bout, Jones KO’d Lester Yarbrough who came into the ring with a 12-16-1 record and would win only one of his next 34 bouts. Neither of these future pro champions faced the type of brutal competition that McClure had to contend with during his first two years as a pro. 

Of course it was a forgone conclusion that Skeeter would lose. Once again displaying the heart and talent of a true champion, and despite being dropped for the first time, the overmatched Olympian actually gave Rodriguez a tough fight. The Cuban won a unanimous 10-round decision, but he had to work hard for the victory. Even Rodriguez was impressed. Give that kid another year, he said, and he’ll be champion.

McClure vs Jose Torres

After that fight, Skeeter should have taken a rest and then taken on a series of lesser opponents, while at the same time perfecting his professional skills. Instead, Brenner insisted on a rematch two months later. After all, their first televised fight was exciting and interesting so why not do it again? McClure’s management should have refused the rematch.  It is a truism in the unforgiving world of professional boxing that a quick rematch between an inexperienced boxer and an old pro is just asking for trouble. The old pro will use his vast experience to figure out what to do in the rematch while the inexperienced boxer will be at a distinct disadvantage. And that is exactly what happened. Rodriguez adjusted his strategy and concentrated his attack on McClure’s body to slow him up and bring down his guard.  In Round 6, Rodriguez dropped McClure for an 8-count with a solid left hook to the jaw. Once again McClure got up and fought his heart out. He was able to win a few rounds but lost another unanimous decision in a punishing fight. Putting McClure into the ring with Luis Rodriguez for his 15th and 16 fight was not just bad matchmaking, it bordered on criminal negligence. 

A young boxer doesn’t walk away from a series of tough and punishing fights without paying a price. If it happens often enough there will come a time in the abused boxer’s professional life when something changes within him.  It can happen after one vicious beating, or it can take place over the course of several tough fights with too little time to rest between them. The change can be dramatic, or it can be subtle and unrecognizable except to an experienced trainer or someone close to the boxer. The damage is both physical and psychological. Eventually the law of diminishing returns takes effect as progress ends and potential is blunted. 

McClure vs Johnny Pritchard, 1967

The boxing portion of this story could very well end here even though Skeeter went on to fight 14 more times over the next four years. Five months after the Rodriguez debacle, there was a 10-round decision loss to future light-heavyweight champion Jose Torres (another Garden fight McClure needed like a hole in the head); only two fights in 1965, and in 1966, a pair of back-to-back 10-rounders spaced two months apart with murderous-hitting middleweight contender Rubin “Hurricane” Carter. McClure lost a decision in the first bout and fought to a draw in the second. The cost of those two fights added to the erosion of this once brilliant prospect. The decline was underscored four months later when he lost a 10-round decision to unrated Harold Richardson, the same fighter he previously had beaten easily. It was McClure’s 24th professional fight and his fifth loss. Comparisons to Sugar Ray Robinson were long past. He had been put in too deep too early, and sunk. 

Yet, it took a while for this proud and intelligent boxer to finally accept the inevitable, to acknowledge that the boxing part of his life was ended. In 1967, after being stopped for the first time in his career by Johnny Smith and then losing a lackluster 10-round decision to England’s Johnny Pritchett, McClure hung up his gloves. His record was 23-7-1 (11 KOs). Three years later, feeling the itch to give it one more try, he had two more fights and then retired for good. 

Although a large part of the blame for McClure’s failed boxing career goes to his managers, the person who was most responsible for ruining him was Teddy Brenner, the powerful Madison Square Garden matchmaker.

Although a large part of the blame for McClure’s failed boxing career goes to his managers, the person who was most responsible for ruining him was Teddy Brenner, the powerful Madison Square Garden matchmaker. Both Brenner and Harry Markson, the director of the Garden’s boxing department, were uninterested (or perhaps incapable) of using the resources, reputation, and influence of the world’s most famous arena to its fullest capacity. Developing and nurturing new talent was not a priority with them. There are people who mistakenly hail Brenner as a great matchmaker. The facts do not support that opinion. During his tenure at the Garden (1959 to 1977), Brenner made some good matches, but he did far more damage by destroying the careers of at least a score of very promising young fighters, including McClure, by overmatching them against superior opposition before they were ready. This pattern was repeated far too often. Brenner knew better but just didn’t care.  If the result of a match ended up ruining a prospect, so be it. It was of no concern to either Brenner or Markson. Their weekly paychecks arrived whether they put on a good show or not. They would also abuse their power by favoring certain “house fighters” handled by compliant managers who never argued with Brenner’s choice of opponent. Making matters worse, the marketing skills of Brenner and Markson were negligible. The great arena was running on its reputation and interest was dwindling. One time, near the end of their tenure, in a fit of pique they revoked the press privileges of a journalist who dared to criticize one of their awful matches in print. So much for freedom of the press.  

Former Lightweight Champion Carlos Ortiz With Skeeter

In those days the prestige of appearing in a main event at Madison Square Garden was second only to winning a world title. Even when matched against an opponent that was all wrong for their fighter, managers were reluctant to turn down a Garden main event.  But it didn’t have to be that way. In Los Angeles, during the same period, promoters George Parnassus and Eileen Eaton were carefully developing and nurturing local talent and making the sport hugely popular without benefit of a national television sponsorship. But because this is an article in tribute to Wilbert McClure, I won’t go into further details about the destructive nature of Brenner and Markson’s arrogance and incompetence. Suffice it to say that boxing suffered as a result. 

Reminiscing some thirty years later, McClure was philosophical about his ill-starred professional career.  I was bitter back in 1967, the then 59-year old grandfather admitted to me. McClure was still handsome and looked twenty years younger. But now I’ve come to terms with it. I believe everything that happened was supposed to be in my life, both before and after. When you think about it, maybe the experience helped me to save some lives. I’m probably a more well-rounded psychologist because of my experience in the [boxing] business.

McClure was not prone to self-pity, nor did he live in the past. His positive attitude helped him to start over in an entirely new field. But boxing was not totally out of his life.

McClure was not prone to self-pity, nor did he live in the past. His positive attitude helped him to start over in an entirely new field. But boxing was not totally out of his life. From 1995 to 1998, he served as chairman of the Massachusetts Boxing Commission where one of his chief priorities was the athletes’ safety. He especially was concerned about over-the hill-boxers who can no longer properly defend themselves yet still are allowed to fight. The boxing community, said McClure, especially the state commissions, ought to have more courage lifting the licenses of fighters who cannot and should not do it anymore. During my tenure as chairman, I was threatened with lawsuits by managers because we suspended those boxers who couldn’t fight anymore.

Mike Silver With Skeeter McClure, 2010

When asked to evaluate today’s fighters McClure’s response was precise. You cannot become skilled and polished if you are fighting two or three times a year. When you’ve got fighters challenging for a world title with 15 pro fights, you know you’ve got a problem. It makes it difficult to appraise the top boxers of today based on what they have accomplished. It is not scientifically sound, accurate, or fair. I feel sorry for Roy Jones Jr. because he hasn’t fought a great or even a very skillful opponent yet. So he cannot be placed in the pantheon of great middleweights because it takes great opponents to make great fighters.

McClure also said that welterweight champ Oscar de La Hoya, although still a work in progress, was lucky that there were no Kid Gavilans around to test him.  Put Oscar in the ring with Gavilan when he was champion, or a Ray Robinson when he was champ or a Tony Zale. Those guys were tough, man. There isn’t any way in the damn world you’re going to hurt them…and they will hurt you badly. It is a lesson that Skeeter learned the hard way. 

Wilbert “Skeeter” McClure, a gracious and intelligent man, made his mark both inside and outside of the boxing ring. But most importantly, he lived his life with meaning and purpose. 

Mike Silver’s newest book is The Night the Referee Hit Back: Memorable Moments from the World of Boxing. Available from Amazon.com or publisher’s website: Rowman.com: 



Book Review: “The Night The Referee Hit Back”

Mike Silver Scores a Knockout 

With

The Night The Referee Hit Back:

Memorable Moments From The World Of Boxing

Review: The Night The Referee Hit Back

By Mike Silver

Forward By Teddy Atlas

Rowman & Littlefield

Reviewed by Bobby Franklin

Mike Silver has been deeply involved with boxing for well over half a century. He started as a kid training in the legendary Stillman’s Gym, served on the New York State Boxing Commission, and even took a crack at promoting fights. Where he has left an indelible mark is with his writing about the sport. His book The Arc Of Boxing: The Rise And Decline Of The Sweet Science is the finest book ever written on how the fine art of boxing has regressed to something that is all but unrecognizable today.

He followed that up with Stars In The Ring: Jewish Champions In The Golden Age Of Boxing: A Photographic History, a detailed look back on the history of Jewish fighters that includes the period when boxing was very much a Jewish sport.

Mike has also penned hundreds of interesting and at times controversial articles for many boxing publications and web sites (Note: Mike Silver is a frequent contributor to Boxing Over Broadway). 

In his latest book, The Night The Referee Hit Back, Mr. Silver brings us a selection of those essays along with a number of interviews with some of the last of the old school boxers. Thumbing through the pages of this volume is like getting an advance degree in boxing theory. Mike brings you back to the days of the real boxing gyms in his opening piece, Boxing In Olde New York: Unforgettable Stillman’s Gym. He not only knows the history of this iconic establishment, he was actually there when it was in full swing. You can smell the cigar smoke and hear the tattooing on the speed bags. With his pen (or keyboard) Mike paints a word picture that if it were in a frame would be a George Bellows lithograph.

Charley Goldman In Front Of Stillman’s Gym

Mike Silver is not one to shy away from controversy and he holds strong opinions. You may not always agree with him, in fact he may get your blood pressure to rise, but you cannot fault him for not putting forth very strong arguments in defense of his positions.

Among the articles that have raised a few eyebrows is The Myth Of The Thrilla In Manilla. Mike is not afraid to go against the conventional wisdom that this was an all-time great fight, and rather makes the point that if this was a fight between two guys named Smith and Jones instead of Ali and Frazier it would have been seen as what it really was; a good brawl between two shot and over the hill fighters. He makes plenty of other arguments in defense of his opinion but I will leave those for the readers to explore on their own. Agree or disagree, you will be fascinated by what he has to say.

Three essays hold significant historical importance; Don’t Blame Ruby: A Boxing Tragedy Revisited, where the author looks at the third Emile Griffith vs Benny Kid Paret fight and what the true cause of Paret’s death was. A lot more went on here than is generally believed, and Ruby Goldstein was falsely scapegoated by those who were looking for easy answers.

Reading this piece is like looking at a deposition for a trial, and I can tell you, Mike would have been a very convincing expert witness for the prosecution.

In Foul Play In Philly, Mike makes a connection between what happened the night Rocky Marciano won the title from Jersey Joe Walcott and the evening in Miami when Cassius Clay defeated Sonny Liston. Similar shenanigans went on in the corners of both champions  on each occasion. Was there a connection?  Reading this piece is like looking at a deposition for a trial, and I can tell you, Mike would have been a very convincing expert witness for the prosecution. 

The third historically significant article is Ali vs Shavers: The Morning After. In many ways this is a sad one to read as in it Mike lays out facts of just how many terrible head shots Ali took from Shavers that night. If Muhammad wasn’t already damaged enough to ensure he would suffer from CTE a few years later, this all but certainly sealed his fate. 

There are many more gems in this collection that include stories about people as varied as Teddy Roosevelt, Woody Allen, a kangaroo, and Marlon Brando. All make for an enjoyable journey through the sport of boxing.

Tiger Ted Lowry

As great as the essays are, Mike really shifts into high gear with his interviews of boxers of the past. Not only does this selection include great fighters, but also boxers who are deep thinkers about the profession. The five he spoke with were active in the period from the 1930s to the 1970s, a huge part of the Golden Age of Boxing. What makes these conversations even more enlightening is the fact that Mike Silver knows what questions to ask. These aren’t just simple question and answer sessions but rather more along the lines of a Brian Lamb interview in that Mike knows how to prod the fighters into opening up about their thoughts on what it took to be a skilled fighter and how they viewed some of their toughest opponents.

The fighters Mike spoke to were Archie Moore, Carlos Ortiz, Tiger Ted Lowry, Curtis Cokes, and Emile Griffith. The insights contained in these conversations are priceless. Ted Lowry talks about his controversial loss in his first fight with Rocky Marciano, his exhibition match with Joe Louis, and what it was like being a black soldier in the segregated military during World War Two.

Archie Moore describes what it was like to fight Charley Burley, “He was like a threshing machine going back and forth.” and the importance of practicing moves in front of a mirror. Moore also gives a list of the ingredients that go into being a successful fighter. When Mike asks the secret to Archie’s boxing longevity, the Old Mongoose responds, ” Well, I knew how to fight.” He has much more to say about the subject, and every word is fascinating.

Reading his discussions with Carlos Ortiz and Curtis Cokes is like sitting in on a master class on the Art Of Boxing. These men are geniuses when it comes to describing the sport they excelled in. The subtleties they talk about show just how much thought went into becoming a good boxer. A couple of examples: 

Carlos Ortiz

Carlos Ortiz on advice to a young fighter, “Boxing is to hit and not get hit. And if you go into the ring with that thought in mind you’ll be OK. But don’t go out there to impress the public by showing them how much you can take or how hard a punch you can take. That’s not the case in boxing. Boxing is I hit you, you don’t hit me, over and over again. It’s a skill that you apply.”

Curtis Cokes on footwork, “I think today’s fighters forget about footwork. I worked everyday on my footwork, turning left and right, backing up, going forward. I turned to my left to be outside of my opponent’s right hand, and then I’d swing to my right to be outside of his left jab. Learning how to box is a slow process but you try to learn something everyday.” 

These comments are much like Shakespeare’s advice to actors in Hamlet, when speaking through the Dane, in just a couple of paragraphs he gives the basics of acting. That is what is contained in Curtis and Carlos’s advice to boxers. It is pure gold, and there is much more of it in these interviews.

Griffith vs Archer

Emile Griffith’s remarks on his fights with Joey Archer will make you smile. He tells Mike it was fun, “The reason I say it was fun fighting Joey Archer is because we were like two boxers trying to outsmart each other. He’s doing something to me this round and I come back the next round and I do the same things back to him. It was like a chess game. But Joey was a very good young man.” In those few lines you see the intricacies of the art of boxing along with the respect fighters had for each other. 

Griffith’s comments on his fights with Monzon are also interesting. Most people don’t remember it, but in their second fight most people felt that Griffith deserved the decision. Emile also talks about how he couldn’t deal with the “extra step” he had to contend with when fighting Jose Napoles. There is so much more, the fights with Paret, Rodriguez, Tiger, Benvenuti and many others. 

When you read these interviews it is more than just words on a page, you feel you are sitting in on the conversations as the voices come to life. Mike’s knowledge and insight is unparalleled. He brings you back to the days of great writers such as Bob Edgren and Jimmy Cannon.

Archie Moore, Mike Silver, Sandy Saddler, Charley Burley

It is no secret that I am partial to the work of Mike Silver, but that is because he is very, very good at what he does. I am a tough critic when it comes to “boxing experts” of which there are many self-proclaimed but very few who rise above mediocrity today. Mike knows boxing, it flows through his veins. He has a keen eye and a lifetime of experience. If you want an education in the Art of Boxing, Mike Silver is the man to read. You may get riled at some of what he writes, and whether or not he changes your mind on certain aspects of the sport, he will make you think more deeply about your views. 

You will also find yourself deeply entertained by many of the essays, especially the title piece. And yes, the referee did hit back.

The Night the Referee Hit Back can be ordered from Amazon.com 
Or from the publisher: http://Rowman.com

 

Eugene Criqui
French WWI War Hero
Won World Title After Having Jaw Shattered By Sniper’s Bullet

 

By Bobby Franklin

Eugene Criqui

Eugene Criqui was born in the Belleville neighborhood of Paris, France on August 15, 1893. Belleville was a working class village that was later used as the backdrop for a number of motion pictures, including the Oscar winning short The Red Balloon in 1957.

Criqui worked as a pipefitter before becoming a professional boxer in 1910 at the age of 17. From 1910 until 1914, he compiled a record of 68 fights with 45 wins, 9 losses, and 14 draws. Of his wins, 14 came via knockout.

In 1914 Eugene joined the French military
and fought in WW I. While serving guard duty during the Battle of Verdun, he was shot by a German sniper. The bullet struck him in the face shattering his jaw. Criqui would spend two years in the hospital recovering from his wounds. During that time surgeons rebuilt his face using wires, plastic, and pieces of sheep’s bone to repair the damage. Given this was in the early part of the 20th Century, it was amazing what the doctors were able to accomplish. After a long and painful recovery, Criqui returned home.

His family and doctors were stunned when he told them he had decided to resume his boxing career. It seemed he must have gone a bit mad to be even considering returning to such a brutal profession after suffering serious injuries. But return he did and what a second career he had.

In his first four years of boxing he had 68 fights but scored just 14 knockouts. In his comeback after the war he had another 68 fights, but this time he scored 42 knockouts in 60 wins. Clearly, he had changed his style. I have read that prewar Eugene had been a slick boxer who was content to go the distance.

War Hero

After the war, his style turned much more aggressive, and he developed a powerful right hand. Why the change? Well, for one thing, he had grown from a flyweight to a featherweight. But I theorize he was greatly influenced by another great French champion who was also a war hero. If you watch films of Eugene Criqui in his fights after the war you can see his style is clearly patterned on that of Georges Carpentier. The way he holds his left and sets up his opponents for his lethal right hand is right out of the Carpentier playbook.

Georges Carpentier was immensely popular in the United States after the war. He was handsome and a war hero. That fact was not lost on promoters when they matched him against Jack Dempsey who had been accused of evading the draft and sitting out the war. When the two met in 1921 they drew a gate of over a million dollars.

Eugene Criqui Knocking Out Johnny Kilbane

In 1923 promoter Tom O’Rourke brought Criqui to New York to fight Johnny Kilbane for the World Featherweight Title. It could have been that O’Rourke saw some of the Carpentier magic in Criqui. The fight took place at the Polo Grounds. It would be the first time Eugene would fight in the United States, but as with Carpentier, he had a reputation as a war hero and was also known for his exciting knockout power. Because of this, the fight generated excitement, though Kilbane was installed as the betting favorite.

Criqui And Johnny Dundee Square Off

Criqui exceeded expectations when he kayoed the champion in the 6th round with a solid right hand. Now the champion, Eugene was under contractual obligation to defend the title within 60 days against Johnny Dundee. Dundee and Criqui met on July 26, 1923, just 54 days after the Kilbane fight. Dundee dropped Eugene four times on his way to winning a fifteen round decision and the title. This was one of the shortest reigns of any world champion.

It would be Eugene’s last fight in the United States. He would fight just six more bouts. Losing four, including one to Panama Al Brown in Paris. He retired in 1928, having compiled a career record of 136 bouts with 105 wins, 16 losses, and 15 draws. 59 of his wins came via knockout.

It’s a mystery why he never fought in the States again or why he had so few fights after losing the title. It has been said he quit boxing because of injuries to his hands. His jaw certainly held up well as he was only stopped on five occasions.

Eugene went on to have a career as a boxing referee in France. He was the second French boxer to win a world championship, Carpentier being the first. It is unclear why he didn’t fight more often in the United States or why he never got another title shot.

Eugene Criqui

It very well may have been because he had proven himself by coming back from his wounds and attaining the title. Criqui was a courageous soldier and a fearless boxer who overcame a lot to become a world champion. On July 7, 1977, he passed away in a nursing home in Noisy-le-Grand, France. He was 83 years old.

Not a lot has been written about this very interesting champion. In 2017 a biography of Criqui was published in France but has not been translated into English. The title of the book is Gueule De Fer, which translated means Iron Mouth. It would be interesting to know more about his life. Just the little we do know is quite inspirational.

https://youtu.be/WTxCYaIap7o https://youtu.be/28pjVNNV-ps

“A great painting, like a great boxing match, can be appreciated on many different levels.”

Boxing Paintings: The Big Three From An Artist’s Point of View

By
Mike Silver

Sol Korby
Self Portrait

From ancient times to the present, the visual and emotional drama that is inherent in the sport of boxing has always attracted and inspired artists. Statues, friezes, vase paintings, and murals depicting boxing scenes and boxers have been discovered in ancient Crete, Greece and Rome. Many are on display in the great museums of the world. One of the earliest known images is a stone slab relief, discovered in Baghdad, which shows two boxers with taped leather hands. It is estimated to be 5000 years old.

In more recent times important American artists have produced an impressive volume of work devoted to the sport. Three of the most famous boxing paintings of the 20th century were done by American artists. They are Dempsey and Willard by James Montgomery Flagg; Dempsey and Firpo by George Bellows, and Brown Bomber by Robert Riggs. Each of these compelling masterpieces depicts a scene from an iconic heavyweight championship contest.

Three of the most famous boxing paintings of the 20th century were done by American artists.

A great painting, like a great boxing match, can be appreciated on many different levels. There are layers and nuances to each—some obvious and some not so obvious. I can analyze a fight much easier than I can analyze a painting. So, I thought it might be interesting to seek out the expert analysis of an accomplished artist and hear what he had to say about the aforementioned paintings.

One of my dear friends is renowned artist Sol Korby. Sol is an award winning painter and illustrator. After service in World War II Sol was employed by various advertising agencies, and subsequently for most of the leading book publishers including Time Inc., Dell, Ace, Fawcett and Avon. (A sampling of Sol’s amazing creations can be viewed at: SolKorbyIllustrations.com)

Sol is ageless. At 90 years plus he is still active and productive, working in his studio almost every day. He is also familiar with boxing’s colorful history. In fact, his work includes a number of boxing subjects. I was anxious to hear what he had to say about each painting.

But first a brief history of the artists and their subjects:

“Notice how Flagg put a cloud in the sky and how he silhouetted Dempsey’s head against the white cloud to emphasize Dempsey’s importance.” –Sol Korby

Dempsey and Willard
James Montgomery Flagg
(Click On Image To Enlarge)

Dempsey and Willard (6’ x 19’): James Montgomery Flagg (1877-1960), was a popular and prolific artist best known for his World War I recruiting poster of Uncle Sam pointing to the viewer (inspired by a British recruitment poster showing Lord Kitchener in a similar pose) with the caption “I Want YOU for U.S. Army”. The Dempsey and Willard mural is 6 feet high by 19 feet wide and is by far the largest of the three paintings. It depicts heavyweight champion Jess Willard and challenger Jack Dempsey in a scene from the July 4, 1919 title fight. Dempsey was 60 pounds lighter than the 6’ 6 ½” 250 pound champion. It didn’t matter. In a savage beat down Dempsey floored Willard seven times in the opening round. The game champion withstood a terrible beating until his corner finally threw in the towel before the start of the 4th round. The electrifying “Manassa Mauler” would hold the title for the next seven years and become the greatest sports superstar of the roaring twenties.

The mural was commissioned by Jack Dempsey and completed in 1944. It was prominently displayed on the wall of his popular Broadway bar and restaurant. Although invited to participate in the celebrity packed unveiling Jess Willard declined to attend. He wired Dempsey, saying, “Sorry I can’t be there. But I saw enough of you 25 years ago to last me a lifetime.”

After the restaurant closed in 1974, Dempsey and his wife Deanna donated the painting to the Smithsonian’s National Gallery of Art in Washington D. C. where it is on permanent display.

Dempsey and Firpo
George Bellows

Dempsey and Firpo (51” x 63 ¼”): George Wesley Bellows (1882-1925) was one of the most renowned artists of his generation. His previous boxing paintings and prints, numbering 46 in all, had already won him considerable fame, most notably Stag at Sharkey’s. Bellows was commissioned by the New York Evening Journal to cover the heavyweight title fight between champion Jack Dempsey and Argentina’s Luis Angel Firpo on September 23, 1923 at New York’s Polo Grounds. The fight was witnessed by 90,000 fans who contributed to boxing’s second million dollar gate.

In a wild first round Firpo was dropped seven times and Dempsey twice. The painting captures the dramatic moment when Dempsey is knocked out of the ring by Firpo. As the painting shows, he landed on reporters sitting in the first press row. Controversy erupted when it was claimed Dempsey was unfairly aided by the reporters who proceeded to push him back into the ring (in the painting one reporter’s hand is seen on Dempsey’s back).
Bellows inserted himself in the painting. He is the bald fellow seated on the extreme left. The painting is owned by the Whitney Museum of American Art.

Brown Bomber
Robert Riggs

The Brown Bomber (31” x 41”): Robert Riggs (1896-1970) was a painter, printmaker, and illustrator well known in the 1930s for his realistic images of the circus, boxing matches, hospitals and psychiatric wards. The Brown Bomber is the nickname of the great heavyweight champion Joe Louis, who held the title from 1937 to 1949 and defended it a record 25 times. The scene depicts the climactic ending to the historic championship fight between Louis and Germany’s Max Schmeling on June 22, 1938 at Yankee Stadium. Louis was seeking to avenge his knockout loss to Schmeling (the only blot on his otherwise perfect record) that had taken place two years earlier. This fight had huge political and social significance. On the eve of World War II, with Nazi Germany ascending, the world focused their attention on this fight. Louis was not just fighting for himself. To the 70,000 fans in the sold out stadium and millions more listening on radio, the fight symbolized the struggle between democracy and Nazi Germany. Joe Louis’ swift and brutal annihilation of Schmeling in the very first round made him a national hero and cemented his legendary status for all time. The painting is owned by the Taubman Museum of Art, in Roanoke, Virginia.

Of the three paintings, Dempsey and Willard is Sol Korby’s favorite: “I think most people who are interested in art would say Bellows is the best painter of the three, probably because he’s in between Flagg and Riggs. Riggs is too stylized, and Flagg is not stylized at all, and Bellows is right in the middle. Personally, I like Flagg best because his work is realistic. I do that kind of work. I like to see things the way they are in nature. When I do a painting I try to make it as close as possible to nature.

“One of the main differences between Flagg’s mural and the two paintings by Bellows and Riggs, aside from the size, is that the others have action. This painting is not really a fight picture the way you and I know a fight picture. There’s no action. There’s no blood. It’s just the two principle fighters in their typical poses. Flagg depicts the two fighters in their prime and the way they move. Willard is moving forward and he’s got one glove near his chest and the other is down near his thigh. He’s not concerned that Dempsey’s going to hit him. It shows he’s not afraid of him at all. He thinks he can beat Dempsey. It wasn’t until the first couple of punches that Willard really knew he was in for a fight now.

“On the left side of the painting you have the referee standing there. He’s not running towards them. He’s just standing there to balance out the ring post on the right side of the painting. It works as a mural because we’re talking about a painting that’s measured in feet. The other paintings are measured in inches. So you have a painting that’s 6 feet by 19 feet symbolizing their fighting styles. I think he did a fantastic job on it.

“This painting is an example of what I call a David and Goliath theme. Flagg wanted to get that big vs. little effect. You’ve got the small guy, who everybody roots for, and you’ve got the monster who everybody wants to lose. Flagg shows Dempsey at his best in that tiger crouch against this giant. He looks like he’s just about to spring up. You’ll also notice how Flagg put a cloud in the sky and how he silhouetted Dempsey’s head against the white cloud to emphasize Dempsey’s importance.

“Flagg and Dempsey knew each other very well. They traveled in the same circles. He was always in the restaurant.”

“Flagg and Dempsey knew each other very well. They traveled in the same circles. He was always in the restaurant. The end result was a very personal type of painting. Flagg put all his friends in the first row. Not only his friends, but also friends of Dempsey. He’s got different sportswriters and people they associate with, including satirist Damon Runyon, cartoonist Rube Goldberg, promoter Tex Rickard, humorist Bugs Baer and Dempsey’s trainer, Jimmy DeForrest. [note: Flagg, like Bellows, inserted himself into the painting and is seated in the first row]. That’s the intent of this picture. It’s not really a boxing picture like the others because there’s no action in it and there’s no blood and neither is being knocked down.

“Many of Flagg’s friends were in show business. Two of his best friends were comedian W.C. Fields and actor John Barrymore. He used to go out all night with them carousing and drinking and would get home very late. If they weren’t in a play or anything they had nothing else to do, so while they had a lot of time, he had work to do and, tight or not, he could knock off an entire illustration in one afternoon. That’s how fast he was.

“In his painting of Dempsey and Firpo, George Bellows did something very unique”, explains Sol. “He has Dempsey falling back and somebody in the press row with his hand on Dempsey’s back is about to push him back into the ring. Many people today are not familiar with this fight, even though they may have heard the name Jack Dempsey. Looking at the painting for the first time they might think it is Dempsey who knocked Firpo out of the ring. But the one thing that tells you Dempsey won this fight, even though you know he is knocked out of the ring, is to look at his hair. His hair is immaculate. There is not one strand out of place. The guy was knocked out of the ring and his hair didn’t move! Bellows painted it that way to show Dempsey wasn’t even hurt to begin with and, as we know, he got back into the ring and knocked out Firpo in the next round.

“Dempsey had only ten seconds to make it back into the ring before being counted out. Bellows shows the referee starting the count right away. In this way he draws attention to the controversy about whether Dempsey could have gotten back into the ring in time without the help of the people who pushed him back.

“You’ll also notice that at the top of the painting there are lights above the ring and two more lights in the far reaches of the stadium. Bellows didn’t want all that area dark. He wanted to show there was space and distance and he wanted to show where the lighting on both figures is coming from and it works very well. And he has nice little figures in the back all cheering and raising their hands and hats and all those things going on in the ringside to show that everyone is excited about what’s happening.

“Robert Riggs’ painting, The Brown Bomber, takes a little explaining, because this is a violent picture. It is the aftermath of violence. This is really an amazing picture in terms of its composition. Starting with the referee’s outstretched arms, and going clockwise past Louis’s back we see the towel flying into the ring and then the guy who threw in the towel, and then we see the heads and the shoulders of all the people sitting at ringside, which brings us right back to the referee. In other words, it makes a complete oval.

The title is The Brown Bomber but this painting is not about Joe Louis. This painting is about Max Schmeling!”

“Just off center in the oval, on all fours, is Schmeling. He’s out, completely finished, and Louis is standing over him. If he ever attempts to get up he’s going to be smashed down again. The title is The Brown Bomber but this painting is not about Joe Louis. This painting is about Max Schmeling! The whole thing is about Max Schmeling. He’s in the oval and he’s groping to get up. His head is turned because he wants to see where Louis is and he can’t do anything about it. Look at the people at ringside. They are all looking at him. They are not looking at Louis. Nobody is looking at Louis, including the referee, who is about to stop the fight. This painting is about Max Schmeling. Joe Louis is one of the figures that complete the arc. He’s part of it, but he’s not the main figure in the painting—Schmeling is.

“This is the most violent of the three paintings. Dempsey being knocked out of the ring didn’t hurt him, didn’t bother him. But this one, Schmeling is in agony and there’s no getting away from it.

“Each of these artists had different styles. Flagg paints in a more true to life style. Bellows and Riggs are more stylized and you can see it in everything they do, especially in the heads and figures around the ring and the shapes of the fighters’ bodies. Everything is stylized. But that is the property of the artist. They feel they’re enhancing the subject. An example is Louis’ arm. Riggs paints him with more muscles than Louis ever had. But he wanted that. It shows that Louis had the strength to do what he did, to put Schmeling on all fours on the canvas. He also made Schmeling’s muscles prominent to show he wasn’t just a tomato can. He was a good fighter. He was champion at one time. Louis is not beating some club fighter—this was a champion.”

There you have it, an artist’s take on three magnificent boxing paintings. Sol asked me which one I liked best. Well, here it is almost two weeks later, and I am still trying to decide. All three are so unique and spectacular in their own way. At this point it’s a dead heat. Which one is your favorite?

Mike Silver’s newest book is The Night the Referee Hit Back: Memorable Moments from the World of Boxing. Available from Amazon.com or publisher’s website: Rowman.com

 

Teddy Atlas: Cyber Boxing Coach

Mike Silver Talks With Teddy Atlas About His New Boxing Instructional Videos   

By

Mike Silver

Teddy Atlas is a world renowned trainer and boxing commentator. Over the course of his 40 plus year career Teddy has mentored and taught scores of top amateur and professional boxers, including world champions Wilfredo Benitez, Mike Tyson, Simon Brown, Michael Moorer, Timothy Bradley, Joey Gamache, Barry McGuigan and Alexander Povetkin. He is also one of the sport’s most popular and respected broadcasters, having worked for ESPN as both an analyst and color commentator for over 20 years.

Although Teddy is no longer actively training boxers his expertise and wisdom is now available to everyone via a series of exceptional instructional videos. They are the next best thing to having Teddy right in front of you teaching you everything from the basics to more sophisticated “tricks of the trade” (not to mention the many life lessons that are always interwoven into Atlas’s memorable teaching style). Whether you are a boxer, armchair fan, trainer or just someone who is curious to know more about this ancient sport, you can have no better guide than Teddy Atlas. 

So far three instructional video programs have been released and have proven to be extremely popular. They are: The Fundamentals of Boxing; The Peek-A-Boo Style of Boxing; 14 Signature Punches From All of The Greats. Nine more programs are planned, each covering a different aspect of the sweet science. Each video program is broken into separate segments that total about 3 hours.

Following are excerpts from an interview I recently conducted with Teddy to discuss the videos and his plans for future tutorials.

Mike: Whose idea was it to do these videos? 

Teddy:  The owners of Dynamic Striking.com contacted my daughter and asked if I would be interested in doing a boxing instructional video. They are the biggest makers of instructional fight videos in the world. A lot of the videos are about the MMA [Mixed Martial Arts] world, but they have some boxing and they wanted to get more involved with that.   

After the initial success of the first one we found out there is a base out there that is interested and wants to learn.

Mike: Was the idea to do just one video?

Teddy: I thought so, but after seeing how successful the video was they suggested to keep doing them on specific areas of boxing. After the initial success of the first one we found out there is a base out there that is interested and wants to learn. So we started off with one, and now we’ve done four. The plan is to do eight more after that. 

Mike:You’ve spent 45 years teaching the finer points of the sweet science. Will you still be involved in personally training boxers?

Teddy: I’m not inclined to train fighters so easily anymore. It takes a lot out of me. I’ve always been saying on ESPN for 25 years that when a fighter enters the ring they leave with less of themselves. What I never said was, it’s the same for a trainer. At least it’s been that way for me over the years. There is such a strong bond between trainer and fighter. You lose a piece of yourself physically, emotionally, even spiritually. You lose faith in people sometimes. You put so much into them they sometimes disappoint you in such a close proximity. So I’m not inclined to so readily say yes, anymore. 

Mike: Who was the last boxer you trained?

Oleksandr Gvozkyk And Teddy

Teddy: I was asked to come out of retirement about three years ago to train light heavyweight Oleksandr Gvozkyk. We won a world title against a really good puncher, Adonis Stevenson. Following that fight I was asked to train some marquee fighters. I’ve been saying no to them for the most part because it’s hard to want to make that commitment because of all of the things that float around that commitment that I know will go into it—going away from home, being in camp, the physical, mental and emotional demands of being responsible for a person. 

Mike:  Doing the videos, at this stage of your career, seems like a good idea because in a very real sense you will still be teaching.

Teddy Atlas Working The Corner With Michael Moorer The Night He Won The Title From Evander Holyfield

Teddy: Cus D’Amato said I was born to teach. I don’t know, but I’ve been doing it since I’m 19 years old. I was training Wilfredo Benitez when I was like 21. Not that I deserved it, but I was with Cus D’Amato, so I got that opportunity. If I told you some of the names of fighters I trained before I was 24 you’d shake your head. They’re all world champions, or guys who just fought for a world title and came up short. I became a commentator for 25 years with ESPN. I still work for them doing SportsCenter stuff, and I was fortunate enough to be put into the Hall of Fame as a broadcaster. But with all of that I’m still a teacher. Like Cus said, when you’re a teacher you teach. It’s always in you, it never leaves you. Because what is teaching? Teaching is really an opportunity, a privilege, and its work. It is a responsibility that could be a burden, like I just pointed out, but it’s also a privilege because you get a chance to make somebody better. You get a chance to help somebody in this world. That’s pretty good. 

Mike: Modern technology has made it possible for you to reach a much wider audience who will benefit from your knowledge even if you’re not doing one on one teaching anymore.

Teddy: Like I just explained to you, I was reticent to do it anymore. I was keeping myself out of it. So this opportunity with Dynamic Striking comes along and my daughter talked me into it.  She reminded me that this was a chance to do what I do best without having to go to camp, without having to have that personal involvement with the fighter that has worn me out. She explained to me that instead of helping one person I could help thousands who could learn something the right way, hopefully. They can improve on their interest in the sport, on their partaking of the sport, whether it’s a professional or an amateur, or a parent that wants their kid to learn the fundamentals properly, or a white collar guy who wants to work out but wants to do it the right way, not the wrong way. So she reminded me that here is an opportunity that came knocking on my door to continue teaching where I was inclined not to teach anymore.

Unlike other sports where you have to have a background in that sport, in boxing anyone can be a trainer. I couldn’t wind up on the sideline coaching a football team in the NFL because I don’t have that background.

Mike: It is my belief, and I’ve written about it, that we do not have nearly enough competent trainers who know how to teach the finer points of boxing technique. 

Teddy:  It’s true. Unlike other sports where you have to have a background in that sport, in boxing anyone can be a trainer. I couldn’t wind up on the sideline coaching a football team in the NFL because I don’t have that background. I don’t belong there, even though I may know the basics of the sport. But you can do that in my sport. I’m not saying they have to spend 8 years apprenticeship up in Catskill away from everything with Cus D’Amato, who was my mentor, and who had a great boxing mind. But the opportunities to do that aren’t even there anymore, to be quite honest. There should be some apprenticeship served. I look around and I see too many of these so called trainers without a background that are teaching fighters, so therefore the teaching is inappropriate. It is not correct in a lot of ways. So here is an opportunity, while I can still do it, without having to pick up the responsibility of the personal relationship with a fighter that I talked about earlier. I can still be able to teach people in a way that is fundamentally correct, and in a way that’s been lost in the sport to a certain degree because we do not have the teachers we should have. We have some good ones, but we have some that are not. 

Mike: Are the lessons in these tutorials the same that Cus taught you in the eight years you were with him?

Teddy: Yes and no. I learned the nuts and bolts from Cus, the ABCs, the laws, the rules. There are laws in life and there are laws in boxing. You break the law in boxing you don’t get a ticket, you don’t get jail time, you get punched in the face. So you learn the basics and you have that foundation, and then with experience you start to add certain things.

Mike: What are some examples of the “nuts and bolts” of boxing? 

Teddy: Moving your head after your last punch and covering back fast with your hands; keeping your chin down; keeping a slight bend in your knees; sharing the weight on both legs. You don’t put it all on one leg, or even 60% on one leg, it has to be 50-50 on both legs. Why? So you’re available to react without a millisecond lost. The weight is on the balls of your feet so you are ready to move while having the benefit of balance. You have to learn all those things and more, and you eventually advance.   

Mike: The second video in the series explains the peek-a-boo style of boxing that Cus made famous. It was used to great effect by former champions Floyd Patterson, Mike Tyson and Jose Torres.

Teddy: The peek-a-boo was pure Cus D’Amato. People are interested in it. It’s part of the history of the sport. So when we did the peek-a-boo video of course I drew it directly from the blueprints of what Cus taught me and gave me, and instilled in me. But from there we advanced to other techniques. 

Mike: In the video program titled 14 Signature Punches from All the Greats you explain and demonstrate some of boxing’s most effective “signature” punches that are identified with certain boxers. One of my personal favorites is the one called “The Walk Off”. 

Jersey Joe Walcott Sneaks A Jab In On Rocky Marciano

Teddy:  Jersey Joe Walcott [heavyweight champion 1951-1952] had this move where he would hitch up his trunks and start to walk off to the side a little bit. What the hell is that? Probably a habit he picked up, maybe a wasted habit? No it’s not wasted. It was thought out. It was developed. It was designed for a reason. The natural instinct of the person in front of him was to relax just for a moment…just for a moment. Like you have in nature when an animal, say a snake, a python, will make you relax just for a second and then–bang! Strike and it’s over. Well it’s the same thing. Jersey Joe would adjust his trunks and take a little walk off to the side, and you relax a little bit, you start to follow him and you don’t even realize you’re following him. And you start to follow him and– bang! He’s got you. Like the python. He’s got you. Sometimes it doesn’t even register with the spectators who see it. They think, “Oh, it just happened”. But it didn’t just happen. It happened because Walcott made it happen. You don’t knock great guys out by accident. Like Sugar Ray Robinson said, “I’ve got to dress them up before I take them out”. And that’s what Walcott did. He adjusted his trunks a little bit, he started moving his shoulders, walked like he was just taking a casual walk in the park, and then all of a sudden he synchronized the slip of his shoulders with that left uppercut and he caught Ezzard Charles—a great fighter—and knocked him out. 

Mike: I’ve seen film footage of that fight but never quite understood what Walcott was doing until you explained it.  

Teddy: Walcott had all those little subtleties, nuances, instinctive things that he knew he could do from experience. He knew how to walk the tightrope. He knew to take something that looked risky, and take the risk out of it. All that was left was the ingenuity and the genius of it that gave him that little edge.  Life’s about overcoming, about finding a way. That’s what boxing’s about. I try to bring those things to this video series as it relates to boxing. 

  Mike: What is another example of a boxer’s “signature punch”

Teddy: Hector Camacho’s “trip hammer” jab. Camacho was a helluva fighter. He had great, great speed, and great boxing ability. His jab was very effective, but he did it different than anyone else’s. Nobody even noticed it. I liken it to a trip hammer. He didn’t turn it over, he just dropped it. He just dropped it! And what did that do? Well It saved him probably 2 tenths of a second. It sounds like nothing, but it’s everything. It got him there just a little quicker, without some of that excess motion, but he still threw it straight. He didn’t give any warning. So the basics were still there, but his genius, his instincts took it to a different place. I let my experiences do the same thing for me as a teacher.

Mike: What other instructional videos are planned?

Teddy: The next one is called Keys to the Door. It should be up in about two weeks. It’s all about the jab. 

There are cave paintings found in Ethiopia that go back thousands of years depicting boxers and you always see the lead hand extended.

Mike: Why is it called Keys to the Door?

Teddy: The title is appropriate because the jab is the key that opens the door. It’s the lantern that lights the way. There are cave paintings found in Ethiopia that go back thousands of years depicting boxers and you always see the lead hand extended. There’s a reason for that. Even way back then they knew there had to be a science to it. There had to be something that was more than just the brawn. The jab shows the way. If it was just the brawn all the creatures would have been the ones that were in charge. But they weren’t in charge; they were the ones that were on the grill being cooked. Man used his brain to give him the edge and figure out the advantages. There were tribes that weren’t necessarily the most physical but they were the ones that lived a little better. They were the ones that won the battles they had to win. They were a little smarter and had a little more ingenuity. It’s the same with boxing. The guys who were big and strong and came in there throwing haymakers did not have the edge against those who were a little smarter and had a little more ingenuity. 

Mike: So what you’re saying is the jab is probably as old as boxing itself?               

Teddy: Apparently. Even back then they knew there had to be a jab to lead the way. There had to be science connected to the physical that would give them an edge. I explain some of the history in these tutorials and why the jab has been around since the beginning of boxing. Without the jab it wouldn’t be called boxing. It would be called slugging. It would be called throwing or chucking, but it wouldn’t be boxing. It is boxing for a reason, and a big part of that reason is the jab. The jab is what makes it possible for you to do everything else. It is part of the militia that clears the way, which gets there first so you can come in with the artillery. Something has to clear the way. Something has to set up the way for the tanks to come in—that’s the jab. 

Mike: I’ve never heard the jab described that way, but it makes perfect sense. 

Teddy: How many guys out there know there’s 14 different ways to throw a jab? Not too many.

Mike: What’s an example of using the jab in a different way?

Teddy: Say you are about to throw a jab but you realize your opponent is set. What does that mean? That means he’s looking to counter you. Don’t throw it. So what do you do? You throw a little feint and you freeze him, then you quickly step just six inches off to the left, and you throw it from there—different place, different position, different result. Instead of getting hit, you land, and he doesn’t land. It’s just one example of a different kind of way to throw the jab. 

A lot of people forget that when Tyson was Tyson–when he was good–he out jabbed taller guys.

Mike: I’ve seen fighters you’ve trained do that move, including Mike Tyson.

Teddy: A lot of people forget that when Tyson was Tyson–when he was good–he out jabbed taller guys. How? He was shorter than most of his opponents. How did he out jab a taller guy? He did it by learning how to slip a punch, taking away the guy’s reach, so now he could jab inside it.  

Mike: A boxer who knows how and when to use a jab certainly has an edge over one who does not.  

Teddy: I make the following point when I introduce the video before I get into the ring and show it. Can you imagine Muhammad Ali without a jab? I can answer that—no. Could you imagine Floyd Mayweather Jr. without a jab? Go back to the great golden era; can you imagine Willie Pep without a jab? No, you couldn’t. Can you imagine George Foreman without a jab? Everyone saw the big shots that took Joe Frazier off the ground to win the heavyweight title. The jab set up that big uppercut. The jab kept him off balance, the jab never let him recover, the jab discombobulated him. 

Mike: Your videos have proven to be a valuable resource for anyone interested in boxing. Thank you Teddy for continuing to teach, inform and entertain. 

Teddy:  I’m blessed and grateful that people are going out there and purchasing it. They’re interested in the topics and I’m hoping they’ll understand the truth of it.

Ed. Note: The Teddy Atlas instructional videos can be purchased and downloaded from Dynamic Striking.com. The cost is $97 dollars per program.

Mike Silver’s newest book is The Night the Referee Hit Back: Memorable Moments from the World of Boxing. Available from Amazon.com or publisher’s website: Rowman.com

How To Ruin A Fighter And A Life

Management Of Johnny Coiley

Is A Textbook Case

By Bobby Franklin

John Coiley

For anyone following the Boston boxing scene in the late 1960s and 1970s the name Johnny Coiley will certainly ring a bell. John was an outstanding amateur fighter who turned pro in 1969. He was a slick boxer with a decent punch who went on to win the New England Middleweight Championship.

John was never in a dull fight, using his rapier like left jab to keep his opponents at bay and also as a way to set up his solid right hand. Sixteen of his 24 wins came via stoppage. 

Fighting most often at the Boston Arena he also made stops in Taunton, MA; Portland, Maine; and the Boston Garden. His biggest win was over veteran Mike Pusateri for the New England title. The two had fought to a draw in their first encounter, and Johnny pulled out the win in their rematch. Things were looking good for the Cambridge middleweight as he had developed a loyal following of fans.

Meanwhile, in New Orleans another young prospect was making a career for himself. Tony Licata, trained by the legendary Bill Gore and managed by Lou Viscusi, was also compiling an impressive record. Licata was a smart boxer/puncher whose lightening fast combinations earned him the moniker “Machine Gun Tony.” He began his pro career a little ahead of Coiley and was facing stiffer competition than the New England Champ. 

Tony Licata

In 1971 John Coiley’s manager agreed to have his young prospect travel to New Orleans, Licata’s hometown, to face Machine Gun Tony. The wisdom of taking this fight could be questioned. While both fighters had identical records when it came to the numbers, with Licata undefeated in  24 fights with 1 ending in a draw, and Coiley with 24 fights, no losses, and one draw, their level of competition was vastly different.

Out of the opponents Coiley faced only two had winning records. By far his biggest and most impressive win was over Mike Pusateri, and that was a major victory for him. Licata had also defeated Pusateri. 

Out of Licata’s 29 opponents, only five had losing records and these were fighters he faced early in his career. By the time he was signed to fight Coiley he had wins over such solid fighters as Gene Wells, Walter Opshinsky, Danny McAloon, Luis Vinales, Dave Adkins, and a knockout victory over Lowell’s very tough Larry Carney. 

Despite this vast difference in the quality of their opposition, Johnny’s manager still agreed to the fight with Licata, and on October 27, 1971 they fought over ten rounds with Tony winning a one sided decision. John was cut under his left eye in the fight. 

Machine Gun Tony Licata And John Coiley Before Their Rematch

Soon after returning to Boston, Coiley’s manager was offered a return fight with Licata by promoter Sam Silverman.  The Coiley team immediately accepted the fight, despite the fact that Johnny was still cut under his eye. The fight would take place just six weeks after the New Orleans battle, hardly enough time for the cut to fully heal so that he could train in earnest for the fight. The wound prevented Coiley from sparring in preparation for the fight for fear it might worsen the injury. The only ring work he got was 3 rounds with a heavyweight a week before the contest. In contrast, Licata put in 70 rounds and was injury free.

John Coiley With His Manager in 1970

Why on earth would Johnny’s manager agree to the rematch so soon after their first bout and under these conditions? The answer is he shouldn’t have. This was gross mismanagement, the kind that results in bad things happening to young fighters. It is boxing malpractice. John was clearly out of his league when he fought Licata the first time. He was given a boxing lesson in New Orleans where Machine Gun Tony’s superior experience showed. There was no shame in losing to a fighter of Licata’s talent in his hometown, Coiley needed to reset and work his way up facing the type of opponents Licata did with his career. Instead, he was back in on short notice with the man who was his better.

At the time, I spoke with people who were close with Licata’s management team. They told me Tony had actually carried Coiley for the ten rounds in their first match. Their strategy was to get a rematch in Boston where they felt Licata would get more exposure and be able to advance his career. His trainer Bill Gore had trained Willie Pep and had connections in the Northeast. It was a smart move on their part abetted by the horrible decision by Coiley’s manager. 

As for the rematch, it was sad to watch. It was held at the Hynes Auditorium in Boston. Tony gave it his all this time. That, combined with the fact that Johnny was poorly trained for the fight and still injured from the first fight, led to a blowout. Tony gave Coiley a beating for seven rounds. In the eighth he dropped him with a left hook.  The knockdown was so forceful it caused a bone separation in John’s lower back. In the ninth John would once again hit the canvas. In serious trouble he would now be saved by referee Jimmy McCaron who stopped the fight.

John Coiley Squares Off With Old Rival Mike Pusateri

Coiley was shattered by the loss both physically and emotionally. He was back in the ring less than four months later stopping Danny Perez in Boston. That would be the last time his hand would be raised in victory. He had six more bouts after that, being kayoed five times with one fight ending in a draw. I saw him kayoed in Waltham, MA by Stan Johnson. It was an even more brutal beating than the one he got from Licata. This punishment took a severe toll on him that would last for the rest of his life.

Think about it, in less than four years John Coiley was knocked out five times. That’s like having been in five auto accidents resulting in brain trauma. The difference here is the fact that these injuries were not the result of accidents but of a manager who never put the health and safety of his fighter first. 

The rematch with Licata was tragic enough, and perhaps it could be chalked up to stupidity, but to continue throwing John in the ring when he was no longer able to properly defend himself was criminal. And for what, a few bucks? 

Boxing is different than other sports. Mismanagement in baseball or golf results in losing and embarrassment. In boxing it results in brain injuries and even death. Put a baseball player in over his head and he will look bad and then be sent back to the minor leagues. In boxing fighters get thrown in again for another beating. 

There is no excuse for what was done to a handsome and intelligent twenty-one year old middleweight from Cambridge, MA in 1971. Unfortunately, since it is boxing this scene has been and will continue to be repeated over and over again. 

Johnny Bratton vs Kid Gavilan II

No Rope A Dope In This Fight

By Bobby Franklin

Johnny Bratton and Kid Gavilan Weigh In For Their Third Fight

Recently, I received an email from my friend boxing historian Mike Silver, the author of The Arc Of Boxing. Mike included a link to a Youtube video of the second Kid Gavilan vs Johnny Bratton fight. He described the bout as one of the best he has seen and commented emphatically, “This is BOXING.” After that ringing endorsement I had to take a look for myself. Mike certainly was right. The fight was indeed entertaining as well as a textbook example of how much boxing has devolved over the years. 

Kid Gavilan and Johnny Bratton fought three times during the period from 1951 to 1953. In their first fight Gavilan won the NBA World Welterweight Championship from Bratton.  In their third fight the Kid defended the title against Johnny. Their second fight was a ten round non-title affair. 

Rare today, non-title fights were not unusual years ago. They would take place when the fighters would come in over the weight limit of the division the title holder was in. This was prearranged and the fans knew they were not going to see the champion risk his belt. It was a way for a title holder to stay busy without risking his title. It was also an opportunity for someone not rated high enough to get a chance at fighting a champ and, even in losing, be able to enhance his reputation by showing he could stay in there with the best.

The second Gavilan/Bratton fight was a bit unusual as the two had fought for the title just six months earlier. In that fight, held on May 18, 1951, Bratton fought with a broken jaw from the fifth round on but lasted the full distance while losing a decision. Just six months later on November 11, 1951 the two would meet again, this time in a non-title fight. And what a fight it was.

Bratton Lands A Left On Gavilan

You might think Bratton would have been a bit gun shy after having taken such a licking in their first encounter, but at the opening bell he came out with guns blazing. Of course, Gavilan was their to meet fire with fire, and this led to a very “entertaining” fight. It also was a display of two ring wise boxing veterans plying their craft.

For the first three rounds Johnny tried matching Gavilan’s speedy combinations. This led to some great exchanges but The Kid was getting the best of them. In the 4th round Bratton changed tactics and started looking to counterpunch. He had more success with this strategy. Gavilan was a very rhythmic fighter and Johnny was trying to break that rhythm by making moves to throw the Champ off his game. Bratton even mimicked Gavilan’s trademark bolo punch in an effort to rattle him. In the seventh round the two tried to outdo one another while digging into their bags of tricks. Gavilan used head feints and a shuffle (yes, this move was around long before Ali trademarked it), and Bratton at one point pointed to the crowd in order to distract the Kid. Neither fell for the tactics but it is fun to watch them trying to one up each other.

Gavilan Lands A Right Counter On Bratton

There a few things that really stand out in this fight. Things that you will not see today or for that matter ever again in boxing. In the entire 10 rounds the fighters only clinched two times, and neither of these was a hug fest. They also went to the ropes on just one occasion. This fight, like so many from the age of boxing when it was an art form, took place almost entirely in mid-ring. 

It was in the eighth round when Bratton was stepping back from Gavilan that he went against the ropes. He immediately responded by neutralizing a left hook the Champ was throwing by placing his right hand on the inside of Gavilan’s elbow as he stepped away from the ropes. This was one of two times that the referee intervened, and even that action by the third man was not needed as the two were breaking on their own. 

Gavilan Beats Bratton To The Punch

It is also a pleasure to watch how these two artists used their left jabs. Today, most fighters hold their hands up against their faces in what makes them look like they are wearing ear muffs. It is impossible to throw a decent jab from that position, not that any of them seem interested in throwing jabs anyway. Both Johnny and the Kid used a classic stance where the left hand is held low and out in front of them while the right hand is kept open and held high in order to parry the opponent’s punches, their chins stay tucked into the shoulder. Having the left in this position allows for the punch to travel a shorter distance while also leaving the option of turning it into a hook or an uppercut, and for the real masters, a hook off the jab. It is also a great defensive position as Bratton showed in the 8th round when he was able to disarm Gavilan by grabbing the inside of his elbow and walking him away from the ropes. The left can also be raised in a stiff arm fashion to deflect a punch. They both employed feints in an effort to get the other to lead, knowing that a fighter is most vulnerable when he is throwing a punch. 

It’s funny, but at one point the referee took a round away from Gavilan for holding and hitting. This was odd as I wasn’t able to see anything close to holding and hitting. I think the ref was feeling unneeded and wanted to justify being paid.

At the end of the ten rounds the decision was announced as a draw. If not for the referee taking away the round from Gavilan, the champ would have won the fight. 

The two would meet one more time in November of 1953, this time for the title. Gavilan won a one-sided decision over fifteen rounds. The press reported that Bratton was thoroughly beaten by the 12th round but he held on until the final bell. 

I highly recommend viewing the second fight between these two excellent fighters. You can watch it a number of times, and as with any great work of art you will notice new things each time you see it. And Mike was right, it is a very entertaining fight.   

Jack Palance: In The Ring, On The Stage

Jack Palance 

Fought Professionally 

Played In Requiem For A Heavyweight

Took On Joe Baski

By Bobby Franklin

If looks could win fights Jack Palance would have been heavyweight champion of the world. His face appeared as if it were cut out of stone and he had the persona to go with it. While well liked, he was known as someone who didn’t pull his punches, figuratively or literally. At 6’3”’ and 200 pounds, he was built lean and hard and was an imposing figure.

He was born Volodymir Ivanovich Palahniuk on February 18, 1919 in Lattimer Mines, Pennsylvania to Ukrainian immigrants. At an early age he decided he didn’t want to follow in his father’s footsteps working as a coal miner. After 39 years working in the mines his father died of black lung disease. As a young man it bothered him that his mother was forced to buy groceries at the company store when the same goods could be had for cheaper in nearby establishments. 

A natural athlete, Jack earned a football scholarship to the University of North Carolina but dropped out after two years. It was then that he decided to take up boxing. He fought under the name of Jack Brazzo and reportedly won his first 15 fights with 12 coming by way of knockout. I was unable to verify this record, but it is a fact that he took on future heavyweight contender Joe Baski in 1938 losing a four round decision. It was after the Baski loss that Palance left boxing for a career in acting. He later recalled, ”…Then I thought, ‘You must be nuts to get your head beat in for $200.’ The theater seemed a lot more appealing…”.

His career was sidetracked by WWII. He was seriously injured when bailing out of a B-24 Liberator that had caught fire. He required facial surgery for wounds he received. When later asked if the plastic surgery had enhanced his looks he responded “If it is a ‘bionic face,’ why didn’t they do a better job of it?” After the war he returned home and to the coal mines. He then enrolled at Stanford University where he earned a degree in journalism. He worked for a time as a sportswriter while resuming his acting career having now changed his name to Jack Palance.

In 1956 he got to put his boxing experience to work when he starred in the Playhouse 90 production of Requiem For A Heavyweight. Most people remember the movie version that had Anthony Quinn in the leading role. With a screenplay written by Rod Serling, another former boxer, the Playhouse 90 performance was aired live on television on October 11th of that year. Co- starring Ed and Keenan Wynn along with Kim Hunter, this version is different from the big screen production.

 

The character Quinn played was named Mountain Rivera, while Palance’s was Mountain McClintock. Palance brought a more nuanced tact to the role of the over the hill boxer who now had to find his way in the world outside of the ring. His experience as a boxer certainly aided in his being able to dig more deeply into the role. The two versions show the fighter suffering from pugilistica dementia, while also struggling with his loyalty to his manager who wants him to continue boxing even after being warned by a doctor that one more fight could kill him. It’s a touching and tragic story enhanced by the grim fact it is something that happens time and again in boxing.

While aired live, the performance was saved on film and is available on Amazon and Youtube. I highly recommend it both for the outstanding acting done by Palance and the hard-hitting screenplay by Serling. While the big screen version is an excellent movie, Quinn’s Rivera tends too much to the pathetic side and sinks into caricature while Palance’s McClintock has a depth and realism that makes for a very moving performance. While Quinn’s character remains under the spell of his manager, Palance’s McClintock struggles to break away in a pursuit to regain his self-respect. Palance brings complexity to the role, for which he won an Emmy. It is interesting to watch the two versions and compare them.

Palance went on to have a legendary career in film, while never feeling at home with the Hollywood crowd. A life long vegetarian and health fanatic he stayed fit all of his life. In 1991 while accepting the Academy Award for Best Supporting Actor for his role as Curley in City Slickers he brought the audience to its feet when at age 73 he dropped to the floor and did one armed pushups. 

I wish more information was available about his boxing career, but there is no doubt that any of his opponents would have felt at least a brief chill when looking across the ring at Jack Palance.

While a genuine tough guy, Jack liked to spend his free time painting and writing poetry and fiction. On November 10, 2006 Jack Palance passed away at the age of 87 of natural causes. A true original, he will never be forgotten. 

Rest In Peace Marvelous Marvin Hagler

Marvelous Marvin Hagler

An All Time Great Champion And  Decent Man Is Taken From Us

By Bobby Franklin

Last Saturday night I was logging onto the internet to check my email when I saw on the newsfeed the headline “Marvin Hagler, Former Middleweight Champion, Has Died”. It couldn’t be true I thought. The story said his wife Kay had posted the news on Marvin’s Facebook Page. Knowing the unreliability of social media and how rife for rumors it is I assumed some person with a sick mind had started the rumor and things would be cleared up soon. 

Unfortunately, I was wrong. Soon, other media sources also reported the story. The Champ had died unexpectedly at, or near, his home in Bartlett, New Hampshire. The indestructible Marvelous Marvin Hagler, winner of 62 fights with 52 knock outs was gone. He was only 66 years old and appeared fit enough to still go fifteen rounds at a moments notice. It just couldn’t be.

In 1967 Marvin’s mother moved the family from Newark, NJ to Brockton, MA. Newark had been torn by riots and she wanted a better life for her children. Soon after settling in Brockton Marvin found the Petronelli’s gym and began a career in boxing that would take him to the National A.A.U. Championship and then onto to a spectacular professional career culminating in winning the World Middleweight Championship.

The road to the title was not an easy one. Hagler had a few strikes against him when it came to his quest for a title shot. He lacked connections, he was very good and he was a southpaw. Those at the top avoided him at all costs.

Another thing about Hagler; he was never satisfied. No matter how much he improved he believed he could be better and he kept working at it.

But Marvin had another quality, he was determined and unrelenting. He knew he would be champion some day and he kept working at it. Rising early mornings he would do his roadwork. After finishing running he would spend the day working his job at roofing and construction. Evenings he would be in the gym working to perfect his technique. Another thing about Hagler; he was never satisfied. No matter how much he improved he believed he could be better and he kept working at it.

Fighting for short money Marvin took on the likes of Bennie Briscoe, Willie Monroe, Bobby Watts, Eugene Cyclone Hart, Kevin Finnegan, Mike Colbert, Doug Demmings, Sugar Ray Seales, and Johnny Baldwin. He lost only two times and in both those cases he returned to decisively beat his opponent. And remember, this was all before becoming champion.

It wasn’t until his 49th bout and after six years of fighting that he finally landed a title shot. On November 30, 1979 he got his chance against Champion Vito Antuofermo. After fifteen rounds it appeared to all who had seen the fight that Marvin had won the crown. Unfortunately, two out of the three judges did not see it that way and the fight was ruled a draw allowing Vito to retain the title.

Hagler was crushed but he did not let it stop him. He went on to rack up three more wins and then challenged Alan Minter for the title in London, Minter’s home town. Alan had previously won the championship from Antuofermo. 

Marvin Lands A Right On Alan Minter

Marvin did not leave it to the judges this time. He destroyed Minter inside of three rounds. Finally, the title was his, but he was not allowed to celebrate. The British fans rioted and Hagler was lucky to get out of the ring without being injured or worse. He was denied the joy of being presented with the championship belt in the ring. 

Marvin would go on to successfully defend the title 12 times with only one challenger, Roberto Duran, going the distance with him. To say he was dominant would be an understatement. He had no soft touches in his title defenses. He took on the best and showed what a true champion was made out of. 

It was in his thirteenth defense that he agreed to fight Sugar Ray Leonard. Leonard’s career was everything Marvin’s was not when it came to getting breaks. His first pro fight was a televised main event. He made money from day one and was carefully guided to the championship, and he was a media darling. He had retired three years earlier but decided to make a comeback when he perceived Hagler was starting to show signs of slowing down a bit. 

Hagler vs Hearns

The fight was held in La Vegas, the site of the robbery in Marvin’s challenge to Antuofermo. The terms were all set in Leonard’s favor, from the location, to having a large ring, to the distance of the fight being reduced from 15 to 12 rounds. In spite of all this and with Marvin coming off wars in his two previous fights, against Hearns and Mugabi, he appeared to have won the fight. But once again two of the three judges did not see it that way and Leonard was given the decision and the title. 

Again, Marvin was crushed by this theft. The title had been stolen from him. It was believed that he would come back and fight Leonard again, but Leonard did not immediately agree to a rematch. He decided he would leave Marvin dangling. However, Hagler did something not expected and very wise; he walked away from the game. He knew he had defeated Leonard. He had accomplished everything he set out to do in boxing. He had to do it all the hard way, but Marvin knew how to work hard. He left the sport with his head high and his mind intact and a healthy bank account. Not many do.

Hagler Victorious Over Hearns

The adjustment to a life away from boxing was at first a bit rocky, but after some struggles and a divorce Marvin found his stride, He moved to Italy where he made movies. He remarried and bought a second home in the quiet town of Bartlett, New Hampshire. The intensity with which he had to live and fight for so many years was now in the past. Watching interviews with him that were done in recent years you see a content man. He had no demons haunting. He was happily married to his wife Kay for thirty years and they had a great life together. They traveled extensively making personal appearances. The fans still admired him.

Marvin was truly the last of the great throwback fighters. He was without a doubt an all time great. He could have fought in any era and been champion. While it can be argued that some of the greats of the past could have beaten him, it cannot be said for certain that any of them would have.

Kirk Douglas and Marvin Hagler

Marvin Hagler was also a throwback in another sense. He never gave up his dignity, he was always classy and decent. Hagler never let setbacks keep him down, nor did he ever embrace a victim mentality , a way of thinking that is so common today. He was able to channel his disappointments and anger into positive forces that contributed to his successes. I doubt his like will ever be seen again, and we are the lesser because of it.

Rest In Peace Champ. You were taken too soon and will be missed. 

2021 Ogunquit Playhouse 2021 Season Announced!

The Show Will Go On

In Ogunquit!

The pandemic put a serious damper on live theatre, and last year the Ogunquit Playhouse was limited to just a few cabaret style outdoor events. Things were up in the air for this year, but the show will go on. The team at the Playhouse have worked hard to come up with a way to stage productions in a safe environment. They have been as creative with providing a new setting as they are with their stage work. It looks to be an exiting year in Ogunquit. 

Bradford T. Kenney, Executive Artistic Director stated, “When it became obvious we couldn’t produce shows indoors this year, the creative wheels began turning on how we could deliver that legendary Ogunquit Playhouse magic in an entirely new way”. Rising from the grounds of the South lawn on the campus this April is The Playhouse Pavilion, a 25,000 square foot, fully covered, open air venue designed to give audiences the greatest theatrical experience in the safest of environments. Fully wired for lights and sound, the 75 foot wide stage will dazzle socially distanced audiences seated in pods of two seats with clear sight lines for all the show stopping glitz and side-splitting laughter they’ve been without for the past year.

The 2021 Season kicks off with Spamalot,  which returns in a new 90-minute, no-intermission extravaganza. From the comedic brilliance of the mighty Pythons and their hysterically inaccurate retelling of King Arthur’s quest for the Holy Grail, Eric Idle adapts his original Broadway script to streamline the music and laughter for a COVID-friendly environment. Spamalot will run June 16 through July 10.

Next up will be the regional premiere of Escape To Margaritaville. You’ll be dining on cheeseburgers in paradise and wasting away with this 90-minute no intermission journey through the music of the incomparable Jimmy Buffett. Kick off your flip flops for seven weeks from July 14 through August 28, as Maine’s Seacoast is transformed into a Caribbean paradise where love and laughter are the keys to growing older without growing up.

Act Three of the season will run from September 1 through October 2 with The Pavilion stage transforming into a quaint New England seacoast village for the World Premiere of Mystic Pizza, the beloved 1980s MGM romantic comedy that launched the career of Julia Roberts. Three girlfriends navigating life, love, and coming-of-age in a working class seaside pizza joint. This pizza is topped with the hits of the ‘80s and ‘90s.

Bringing the curtain down on the season’s Pavilion stage spectacular will a new 90-minute, no intermission, side-splitting version of Young Frankenstein! Mel Brooks and Susan Stroman scared the pants off Broadway giving his 1974 cult classic creature new life on stage as a mind-blowing tap dancing monster of an experience. The creepy and kooky family will run from October 6 through, fittingly, Halloween!

While audience members are not being required to provide their proof of vaccination, Ogunquit Playhouse encourages all patrons and guests to get vaccinated for their own safety and the safety of those around them. They are also making it clear that everyone on campus — staff, artists, and patrons alike — adhere to current State and Federal CDC guidelines for social distancing. Masks will be required at all times, except when eating and drinking. Masks will be provided to those who arrive without one. And patron traffic flow will be managed to ensure the safest, most efficient arrival and departure from the campus.

It’s important to keep in mind that seating in The Pavilion is limited, so it would be wise to purchase tickets and subscriptions early. Playhouse Members will receive a week of pre-sales beginning April 19 at 10AM ET. With an annual Membership of $100 or more, you too can get a fast pass to the front of the line! General Public sales begin April 26 online at ogunquitplayhouse.org and by phone at 207.646.5511.

Knowing this Season will be completely different from what Playhouse audiences are used to, all patrons are encouraged to share their questions and concerns by filling out the comments form at https://bit.ly/3snypuR. While it is not possible to address each inquiry individually,  responses will be shared on the Playhouse Facebook page and in the weekly eNews.

For the latest information on the 2021 Season, please visit http://ogunquitplayhouse.org/ or email mstailey [at] ogunquitplayhouse [dot] org

Boxing For Time

SURVIVING THE HOLOCAUST CAMPS BY BOXING (1940 – 1945)

By Len Abram

As much as Holocaust stories horrify, they also inspire. Decades of research detail the murderers and their methods, from the industries that produced the poison gas or exploited slave labor, to the rail systems across Europe, with thousands of employees, that transported millions to final destinations.  

Luck plays its part in survival stories. But when their fate is in their hands, in some cases literally, the survivors outwit and outlast the system determined to take their lives.

The survivors are the other side of the tragic equation. Their stories inspire hope that courage and faith can overcome evil on a scale still hard to imagine. Luck plays its part in survival stories. But when their fate is in their hands, in some cases literally, the survivors outwit and outlast the system determined to take their lives. 

In 1980, the film “Playing for Time,” was based upon Fania Fenelon’s memoir, in which an orchestra at Auschwitz helped Fenelon survive the Holocaust. A Jew in the French resistance, Fenelon was arrested in 1943 and sent to Auschwitz-Birkenau, the work camp in the Auschwitz complex. 

Maria Mandl was the SS commander of the women’s camp, where Fenelon was imprisoned. Along with her brutality, Mandl was fanatical about her love of music. Fenelon couldn’t understand murderers appreciating the beauty of music. Mandl was complicit in the deaths of 500,000 women. Fenelon watched Joseph Kramer, commandant of Auschwitz, rush to attend her concerts, after he had killed 24,000 Jews that day.  (Kramer was tried, convicted and hanged in 1945, as was Mandl, in 1947.)

As one of the cellists in the orchestra said, “As long as they wanted an orchestra, they couldn’t put us in the gas chamber.” Fenelon too survived, barely. Shipped to Bergen-Belsen in Germany as the Russian army approached Auschwitz. Fenelon was dying when the Allies arrived.  She recovered to continue her career.

As with the musicians, boxers also provided the SS officers and guards with distractions from their grisly tasks — and later a war not going well. Boxers fought in the extermination and slave labor camps, trying to survive by boxing for time. 

At Auschwitz and at other camps, selection for life or death was based upon a person’s usefulness.

At Auschwitz and at other camps, selection for life or death was based upon a person’s usefulness. The SS was looking for physicians or barbers or even forgers, among other skills. Anyone strong or young was chosen for forced labor.  

Boxers were also on the SS list to entertain SS officers and guards.  In Europe and America, boxing was as popular as soccer and football are today. American boxers and baseball players were the most highly paid athletes. A championship fight in the 1930s, says boxing historian Mike Silver, drew as much public attention as a Presidential election. The German Max Schmeling beat leading heavyweight contender Joe Louis. Hitler touted Schmeling’s Aryan superiority, until African-American Joe Louis defeated Schmeling in the rematch. 

Leen Sanders

Dutch boxer Leen Sanders (40 wins, 6 KOs, 19 losses, 16 draws) fought, as a middleweight and welterweight across Europe in the 1920s and 1930s. As a Jew, he wore the Star of David on his trunks.   When the Nazis occupied the Netherlands, Sanders and his entire family went into hiding. They were betrayed and arrested. In January 1943, the family was shipped to Auschwitz. Sanders’ two children were gassed immediately; Sanders’ wife was murdered in late April. Seven of his siblings, including his brother Bram, and his parents, were also killed.  Sanders was performing slave labor in the camp, when he was recognized by a member of the SS, who had seen him boxing in 1936. 

Sanders was offered a chance to box and train the guards in boxing. This must have been the critical point for all the boxers who cooperated: to live and fight the evil in their own way or likely die, along with all the others. The Nazis expected no witnesses to their crimes. Fenelon’s memoir was titled as delaying the time, not the liberation she finally experienced. Sanders used his boxing position to help other inmates to survive with food and clothing. As an inmate recalled, Sanders “held his hand over me.” Sanders survived the war by boxing to return to the Netherlands, remarried, and won two more bouts before retiring. 

Contemporary fiction is mindful of the connection between boxing and the Holocaust. Szczepan Twardoch’s 2020 novel “The King of Warsaw,” mentions Teddy aka Tadeusz Pietrzykowski (Wins 334, Losses 14, Draws 2), Warsaw city champion, and another fighter who boxed to survive.

As a member of the Polish resistance, Pietrzykowski was imprisoned in a camp for political prisoners named Auschwitz. In 1940, Pietrzykowski was prisoner number 77. Less than a year later when it became a killing center, Harry Haft, another boxer from Poland, was prisoner 144738.

Teddy Pietrzykowski

Pietrzykowski reported intelligence back to the underground and performed acts of sabotage. The commandant at the time was Rudolph Höss, who trained his dog to bite Jewish prisoners and killed one.  Pietrzykowski found a way to kill the dog, which the inmates and he, always short on rations, cooked and ate. 

The Polish saboteur wasn’t done with Höss, who rode his horse around the camp.  Pietrzykowski sabotaged Höss’s saddle, so that the horse threw the commandant. It was assumed to be accident when Höss suffered a broken leg. In 1946, when Höss was on trial, Pietrzykowski testified and watched Höss hanged. 

Pietrzykowski didn’t start boxing right away – in the beginning he was assigned to work in a carpenter’s shop. Being fit helped all the former boxers survive the hard labor. His first boxing opponent was Walter Dünning – a German prisoner – who, before the war, was a middleweight vice-champion of Germany.

They fought in their work gloves. Most of the boxing at the camps was done with bare fists.

In March, 1941, Dünning’s fellow inmates suggested, if he liked abusing others, maybe he should try fighting Pietrzykowski. Dünning was 154 pounds. Bantamweights like Pietrzykowski fight between 115 and 118 pounds. Against Dunning, on camp rations and hard labor, Pietrzykowski weighed 88 pounds. They fought in their work gloves. Most of the boxing at the camps was done with bare fists.  Dünning stopped the fight when he realized that he was losing, and Pietrzykowski got a loaf of bread and a bar of margarine as a prize. He shared his win with the other inmates.

Boxing became part of Pietrzykowski’s resistance to the occupation. Since he wasn’t Jewish, Pietrzykowski fought Jews and Gentiles, whereas Jewish boxers fought other Jewish boxers, with exceptions. A Jew winning a match against the Master Race would be intolerable. Boxing became popular with the inmates as well as the SS. Pietrzykowski’s victories over German opponents or collaborators boosted morale among his fellow slave laborers. 

Pietrzykowski fought around 40 times in Auschwitz and another 20 in Neuengamme, another camp in Germany. He fought Leen Sanders, the Dutch champion, twice. Sanders was his true equal in skill. Pietrzykowski won the second match. Pietrzykowski adjusted his boxing style according to his opponent, some of whom, like Sanders, were professional boxers. By his own account, his bouts against two German professional boxers were vicious, but he won both. 

Pietrzykowski’s style was to outwit the opponent, to slip punches and dance away, elusive rather than a toe-to-toe beating of the opponent into submission. He had fans among the SS – and certainly his fellow inmates – who called him “the White Fog.” Pietrzykowski changed his style, however, when the opponent was a Jew. He would try for a draw. The SS might condemn a loser to gassing or shooting – especially if they lost money gambling.  

In a remarkable bout for even those surreal times, Pietrzykowski interrupted a prisoner beating another prisoner. With the permission of the SS, he challenged the bully to a bout.  The man whom he saved from a beating was a Polish priest, who later gained fame for taking the place of a man condemned to death. In the Catholic Church, the priest is known as Saint Maximilian Kolbe. After liberation, Pietrzykowski returned to join in the rebuilding of Poland. He fought 15 times after the war, winning most of those, and then retired to teach boxing. 

Victor Young Perez

Messaoud Hai Victor “Young” Perez was another boxer, who fought to extend his chances for survival – but this time to no avail. A Tunisian Jewish boxer, Perez  became the World Flyweight Champion in 1931 and 1932, fighting under his ring name “Young Perez” (Wins 92, KOs 29, Losses 31, Draws 15). Perez was a hero to the Tunisian Jewish community, his life celebrated by that community for decades after his death.

In 1931, he beat an American opponent in Paris to become World Flyweight Champion.  Boxing made him rich by his humble background and famous too – thousands of fans, a Peugeot convertible, and dating a movie star.  By 1938, with over 160 fights, lately more losses than wins, Perez retired. He was living in Paris when the war started, and meant to return home in Tunis, but got delayed. By then, France had surrendered and the Vichy government cooperated with the Nazis in its war against the Jews. 

Perez refused to register as a Jew with the Vichy regime. He posed as a Spaniard and supported himself with odd jobs, including assisting in boxing matches. While he was trying to escape again, he was betrayed and arrested. In September 1943, he was interned in the Drancy camp. There, his fame as champion boxer followed him, and he performed boxing demonstrations for inmates and guards. In October, he was moved to Auschwitz, to a subcamp about six miles from the main camp, a four-day trip in a cattle car with no food or water. 

Perez was at Monowitz, the camp where I.G. Farben had a factory producing artificial rubber. Inmates Primo Levi and Elie Wiesel were also there – although it’s unlikely they met.  The commandant was an avid boxing fan and Young was his favorite.  Boxers were forced to participate in bouts twice a week, in which Nazi officers placed bets. Boxers got a day off to train and an extra bowl of soup for winning. The loser – if an inmate — was executed. Perez fought against taller and heavier German personnel, since no regard was paid to weight class restrictions. 

Perez lost his boxing privileges in 1944 for breaking a camp rule. His work after that was digging earthworks against aerial bombardment. In January 1945, with Russian troops closing on Auschwitz, Perez was on the infamous forced march to Germany, where thousands died. Harry Haft and his brother survived that march. Perez was shot and killed on January 20 or 22. Some said that he was killed while getting bread for other inmates on the trek 

Salamo Arouch

Salamo Arouch (before the war, Wins 27, KOs  27, Losses 0; during the war, estimated Wins 208, KOs 206, Losses 0, Draws 2; after the war, Wins 4, Losses 1, Draws 0) was a Greek middleweight champion with 27 wins (all knockouts).  Rounded up by the Nazis in May 1943, his family and he were wedged into a cattle car at Thessalonica, Greece, and transported to Auschwitz.  His family members either were gassed immediately or died later – his brother was shot for refusing to remove gold teeth from the dead. 

After the first selection, Arouch, as inmate 136954, was standing nearly naked in a line of other prisoners, when a German officer arrived. He asked if any of the prisoners were boxers or wrestlers. At 5’6” and 135 pounds, Arouch didn’t convince the officer that he was a boxer. The officer put together an impromptu boxing match right there, drawing a circle in the dirt where Arouch would face his first opponent, another prisoner. Arouch knocked that man out in three rounds. 

For two years, Arouch was boxing two or more times a week as entertainment for the German military. Special privileges, an indoor job and extra rations, helped him survive, while around him, was death. Of the 47,000 Jews from his home town taken by the Nazis, only 2,000 survived the war.  Arouch was a 135 pounds in his prime, but on camp rations he lost weight. Still, the SS put him in the ring against much larger men. He said he once knocked out a 250-pound opponent in 18 seconds. Arouch’s fancy footwork and style earned him the title of “the Ballet Dancer.”

His opponents were other Jewish inmates or Gypsies, occasionally Nazi guards. The outcomes of the bouts were often deadly for the Jews or Gypsies. “The loser would be badly weakened,” Arouch said. “And the Nazis shot the weak.” The same would be true for Arouch, should he lose. His toughest opponent, he said in an interview, was a German-Jewish boxer named Klaus Silber, an undefeated amateur boxer. The fight was brutal, each man landing on the floor several times. Arouch recovered to knock out his opponent. He never saw Silber again.

Like Fenelon, he was shipped to Bergen-Belsen as the Russian army drew near. Although his family had been murdered and he was alone, he met a young woman from his home town, whom he eventually married. They moved to Israel, where he boxed until he retired from the sport in 1955.  He summarized why he fought during the war: “What kept me alive was a burning determination to someday tell the world what I saw at Auschwitz.”

Harry Haft

From around 1940 until liberation, Harry (Herschel) Haft (Wins 13, KOs 8, Losses 8) spent five years as a slave laborer and then a boxer in six different camps. Haft arrived in Auschwitz in 1943, sometime after Salamo Arouch, given Haft’s number as inmate 144738. At age sixteen, Haft had grown up in poverty and joined his brothers in smuggling to make a living. The physical demands placed on him at an early age trained him for hardship in the camps and in the ring. Skirting the law, if not breaking it, helped prepare him for finding ways around camp rules, there to weaken and eventually kill inmates. 

At Auschwitz, Haft’s first job was as a Sonderkommando, disposing the dead from the gas chambers. The work drove some of the workers to suicide. Haft contemplated his death, when an opportunity to mine coal presented itself at a subcamp at Auschwitz.  Haft was strong and handled the hard and dangerous labor. The SS guards at the camp entertained themselves with boxing. 

They picked the fighters from among the inmates, and bet on who would survive long enough for the next match. Haft’s physique as a teenager was more impressive to the guards than the skeletal appearance of his opponents, and he was a favored contender. At Jaworzno, the subcamp near Auschwitz, pouring rain turned a field into mud, which became the ring and Haft’s first bout. Another Jewish prisoner was Haft’s opponent, facing each other with bare-knuckled fists. Haft fought hard. He knew what happened to losers. That intensity was his style in the ring, even when he boxed professionally in America. The SS guards called Haft “the Jew Animal.”

An SS officer saw Haft’s skill in the ring. Disillusioned with the war, the officer became Haft’s advocate. He got Haft the boxing bouts to keep him alive for three-and-half years. When Haft complained that his wins meant his opponent would likely be gassed or shot, the officer assured Haft that they would die anyway, now or later.  Haft fought 75 times in the camps, often with bare knuckles, against many larger and more powerful opponents. 

When the Russians were closing in to the camp, Haft and one of his brothers, all that was left from his family of eight, joined thousands of other inmates, including Young Perez, on the forced march into Germany. Haft escaped death once again – and had to kill to survive.  American GIs adopted the young Haft, who weighed 106 pounds, when his fighting weight was around 175. Under Army auspices, Haft recovered his health, boxed and became a local champion. When Haft found his way to New Jersey, his only skills were boxing and surviving.  

Haft became a professional light heavyweight and heavyweight boxer. It was a short career, two years and 21 fights. The most important fight of Haft’s career was against Rocky Marciano, soon to be heavyweight champion. Haft contended that gangsters threatened to kill him if he won. He never boxed again.  He married, and raised a family in Brooklyn. His story is in a memoir authored by his son, and soon to be released movie called “The Survivor.”

Sanders, Pietrzykowski, Perez, Arouch, and Haft – except for Perez, killed while leaving the camps — survived the war because of their boxing. By boxing for time, they outlasted and outlived their Nazi tormentors. Books and movies have been written and filmed about each, witnesses to one of the great human tragedies. Boxing is about skill, the training and the dedication. It is also about the courage to lift fists, face the foe and never give up. 

The Ogunquit Playhouse Patio Cabaret Opens June 4

Ogunquit Playhouse 

Opens The

 Playhouse Patio Cabaret

By Bobby Franklin

In addition to the four Main Stage plays being presented this season, the Ogunquit Playhouse will once again be welcoming patrons to their Playhouse Patio Cabaret. The Patio proved extremely popular last year and will be an extra treat this season as things begin to shift back to normal in Ogunquit with the opening of the Main Stage.

The opening performance will see the return of Nat Zegree to the patio. Nat, who rocked the house in Million Dollar Quartet, will be sharing his talent and musical knowledge June 4 through 6. This will be a great prelude to the opening of the first full musical in nearly two year which takes place on June 16 with Monty Python’s Spamalot.

The Playhouse Patio Cabaret will continue throughout the summer with  total of 10 events. In addition to Nat Zegree the performers along with the plays they were in are Diana Huey(Elf The Musical) June 25-27, Jeffry Denman (White Christmas) and David Lamoureux(An American in Paris)July 23-25, F. Michael Haynie (Hunchback of Notre Dame)July 30-August 1, Alysha Umphress (Smokey Joe’s Cafe) and Jeff Blumenkrantz  (Broadway’s Bright Star) 6-8, NicoleVanessa Ortiz August (Smokey Joe’s Cafe)13-15, Kyle Taylor Parker (Kinky Boots) August 20-22, Lindsay Roberts (Ragtime)September 10-12, Jonathan Mousset Alonso (JerseyBoys) and Vince Di Mura September 17-19, and Graham Scott Fleming (Kinky Boots)September 24-26. 

With seats limited to 100 per performance, tickets will run out fast. Last years series sold out within days. Cabaret performances are On Sale Now at ogunquitplayhouse.org and through the Box Office phone lines at 207.646.5511. Seating is by table, priced as $140 for a table of two, and $280 for a table of four, limited to 100 patrons per performance. Pricing includes one complimentary drink per person.

This will be a very exciting summer in Ogunquit led by the very talented performers and staff at the Ogunquit Playhouse. You don’t want to miss out.

The Ogunquit Playhouse Is Back With “Monty Python’s Spamalot”

With Monty Python’s Spamalot

The Ogunquit Playhouse

Returns Us To The Bright Side Of Life

Reviewed by Bobby Franklin

Charles Shaughnessy as King Arthur and Mariand Torres as The Lady of the Lake

In the early spring of 2020 hope began to fade that the Corona Virus was going to recede, and the reality that life for all of us was going to be quite different for some time was setting in. At the time Brad Kenney, Executive Artistic Director of the Playhouse, had to make the announcement the 2020 Season would be canceled. Brad did this via video and the poor guy could not have looked more beaten down. His heart and soul is in the Ogunquit Playhouse and having to let the public know the curtain wouldn’t be going up last year was heart wrenching. It seemed sure the place would  remain dark for a long time. Some wondered if it would be able to survive.

Well, Brad may have been staggered and even floored, but the count never got to ten. He soon recovered and was back in the fight, a fight he was not going to lose. After having to refund over 50% of the ticket sale money for the up coming season Brad went to work on fundraising, and more importantly, keeping the flame burning at the playhouse. This began with video talks with Playhouse Alumni such as Sally Struthers. The mood was changing for the better. Next was the Playhouse Cabaret Series where performers from past seasons displayed their talents before small crowds outside the theatre in a cafe setting. So, even though the season was officially canceled, there were still performances taking place before a live audience. 

Left to Right) Jen Cody, Dwelvan David, Charles Shaughnessy, Mariand Torres, Josh Grisetti, and Daniel Lopez (Photo by Gary Ng)

As the 2021 Season approached it was still unknown if the COVID restrictions would allow for the theatre to reopen. Since it takes some time to put together full scale productions it was decided to build a pavilion next to the theatre where it would be easier to allow for social distancing and ventilation. 

With generous donations from the many loyal supporters of the Playhouse, and a huge gift from benefactors Carol and Noel Leary, the Leary Pavillon was erected and a four show season was planned.

Last Friday night the season kicked off with Monty Python’s Spamalot. As one of the tag-lines from Monty Python goes; “And now for something completely different”. Well, not completely different as this production lives up to the high standards the Ogunquit Playhouse has always adhered to.

The laughter that came from the audience in response to those lines shows the resilience people have and how, just like the Ogunquit Playhouse, we are not giving up.

It was an interesting choice as the first musical to play since the pandemic hit in that it opens with references to plague and deaths. Grim? Not at all, gallows humor is exactly what is needed at this time. The laughter that came from the audience in response to those lines shows the resilience people have and how, just like the Ogunquit Playhouse, we are not giving up. 

Charles Shaughnessy is excellent in leading the cast as Arthur the King who just can’t seem to command respect. Sent by God on a quest to find the Holy Grail, Arthur is accompanied by his faithful companion Patsy (Jen Cody). Along the way the King assembles members of his Knights of the Round Table, a motley crew who often take things Arthur says literally which causes more than a little Pythonish confusion.

Josh Grisetti as Sir Robin
(Photo by Gary Ng)

Dennis Galahad (Daniel A. Lopez) is not easily convinced to become a knight as he has the radical idea leaders should be chosen by the people and not by Divine Right. The Lady of the Lake (Mariand Torres) appears and wins over Dennis with Come With Me who now becomes Sir Galahad. Ms Torres while singing hilarious songs shows her talent as a genuine Broadway Belter with the Diva’s Lament and Find Your Grail/The Song That Goes Like This.

Jen Cody is outstanding as Patsy. Her performance of the show’s best known song Always Look On The Bright Side Of Life was pitch perfect, and she showed great comedic expressions when Mr. Shaughnessy sang I’m Alone. Poor Patsy who had stood by the King throughout thick and thin was a riot as she looked to the audience with “What about me looks?” as Arthur spun his tale of loneliness.

Jen Cody as Patsy
Photo Credit: Gary Ng

With many of the devices that make Monty Python so popular, such as a giant wooden rabbit, the huge hand, poking fun at the French, and riding on horseback sans horses, fans won’t be disappointed.

The big show tunes are a treat as well. You Won’t Succeed On Broadway (Josh Grisetti) is Mel Brooksian in its formula for it’s humorous take in what you need to produce a Broadway Show while His Name Is Lancelot (Nic Rouleau) is best described as Lancelot’s coming out song.

Music, laughter, beautiful sets, and the joy of the Ogunquit Playhouse is back. Life is good again.

By the finale the audience was fully back in theatre mode. Music, laughter, beautiful sets, and the joy of the Ogunquit Playhouse is back. Life is good again.

I’d like to say a few things about the Leary Pavilion. While it is different from the main theatre it is a very interesting setting for a play. It accommodates 75% of the Playhouse’s indoor capacity. The 25,000 square foot steel structured, fully covered, open air performance venue has a 96 foot wide stage, a full array of lighting, and much better acoustics than I expected. A major plus is having the seats arranged in “pods” of two for social distancing. This also ensures every audience member is guaranteed an aisle seat with plenty of leg room. For a fidgeter like me this is a positive delight. Site lines are clear and unobstructed. You doin’t have to crane your neck to look past people’s heads. Is the pavilion better than the indoor theatre? No. Is it worse? No. It is a different and very interesting experience, and it works very, very well. 

Brad Kenney deserves more than high praise for making this all happen. Don’t think twice about buying tickets for Spamalot and the rest of the season. Come out of your cocoon and step into the world of outstanding musical theatre at the Ogunquit Playhouse. It really feels good to be back looking at the bright side of life!

Monty Python’s Spamalot

Through July 10

The Ogunquit Playhouse

Ogunquit, Maine

Box Office: 207.646.5511

ogunquitplayhouse.org 

Theatre By The Sea Reopens July 9 With Nicolas King

 

POP-JAZZ CROONER NICOLAS KING

BRINGS NEW SHOW TO THEATRE BY THE SEA

Nicolas King

Theatre By The Sea’s owner and producer Bill Hanney, who recently announced the reopening of Theatre By The Sea after a 21-month intermission, due to the COVID-19 Pandemic, is ecstatic to open the 2021 Summer Concert Series with Rhode Island’s own Nicolas King on Friday, July 9 and Saturday, July 10 at 8:00 pm. 

Nicolas King has been performing since he was four years old. Having been in three Broadway productions before the age of twelve is no small feat! Aside from appearing opposite Tom Selleck in A Thousand Clowns and Carol Burnett’s Hollywood Arms, directed by Hal Prince, he was Broadway’s longest running Chip in Disney’s Beauty and The Beast. Mr. King has also appeared in dozens of national television commercials, including his award-winning “Oscar Mayer Lunchables” commercial. He has appeared on numerous television talk shows including “The View,” “The Today Show,” “Sally Jesse Raphael,” “Liza & David,” and twice on “The  Tonight  Show” with Jay Leno, (including Leno’s final week as host in 2014). Nicolas’ latest album, “Act One – Celebrating 25 Years of Recordings,” was released in 2021 with Club 44 Records and features collaborations with Jane Monheit, Norm Lewis, hit-maker Charles Calello, and longtime musical director Mike Renzi. He performed on the Jerry Lewis MDA Telethon for eight consecutive years live in Las Vegas, originated the voice of Oscar on Discovery Kids’ “Kenny The Shark” and is the recipient of the 1995 and 1996 Talent America Award, the 2010 Julie Wilson Award, the 2015 AMG Award for Artist of the Year, the 2012 Bistro Award for Outstanding Performer of the Year, the 2019 Legends Award for his contribution to the preservation of the Great American Songbook, and the 2021 BroadwayWorld Award for Best Swing Act. In addition to performing with artists such as Tony Danza, Andrea McArdle, Jack Jones, Lainie Kazan, Donna McKechnie, Faith Prince, Billy Paul, Jennifer Holliday, Debby Boone, and Linda Lavin, he has also performed alongside his mentor, the legendary Liza Minnelli, since he was eleven years old as her opening act from 2002-2012, touring throughout the country. Mr. King has performed on many iconic stages including concerts and appearances at Carnegie Hall, Lincoln Center, Birdland, 54 Below, Chicago Shakespeare Theatre, and aboard Silversea and Crystal Cruises.

Accompanied by the Mike Renzi Trio, Nicolas will be performing a collection of jazz, pop and Broadway songs which celebrate the ups and downs of a year we are all happy is over. This optimistic set highlights lessons learned, new perspectives gained, and the music that got us through it all. 

Hindsight’s 2020 with Nicolas King will be at Theatre By The Sea on Friday, July 9 and Saturday, July 10 at 8:00 pm. Additional performances for the 2021 Summer Concert Series will take place on July 16, 17, 23, 24, 30 and 31 at 8:00 pm. The theatre is located at 364 Cards Pond Road, Wakefield. Tickets are $29 – $52 (additional fees may apply). Discount rates are available for groups of 10 or more by calling (401) 782-3800 x112. Tickets are currently on sale online 24-hours-a-day at www.theatrebythesea.com and via telephone from 11:00 am – 5:00 pm Monday through Saturday by calling (401) 782-TKTS (8587). 

.

Joe Louis Vs Johnny Shkor

Joe Louis Got To

Know The Score 

In Boston:

Johnny Shkor That Is

By Bobby Franklin

The Greater Boston area has been home to two World Heavyweight Champions; John L. Sullivan and Rocky Marciano, neither of whom ever defended the title there. In fact, even though boxing has always been popular in Boston, there has only been one Heavyweight Title fight held in Beantown. That was the 1940 match between the great Joe Louis and Al McCoy. Interestingly, McCoy was a native of Maine and resided in Waterville though he fought often in Boston.

When it was decided Louis would travel to Boston to defend the championship there were two New England fighters who stood out has the prime challengers to take on the Brown Bomber. One was McCoy and the other was Tony Shucco, a Boston native. I’m not sure why McCoy was picked but many old timers told me they believe, because of his style, Shucco would have been able to give Joe a better fight. 

The fight took place on December 16, 1940 at the Boston Garden. A crowd of 13,334 showed up to watch as Louis handed out a one sided drubbing to the very game McCoy. The fight ended when the New England fighter was unable to come out for the fifth round. 

Al McCoy And Joe Louis Weighing In
(Photo By Leslie Jones)

The Louis of 1940 was pretty much at his peak and is still thought by many experts to have been the greatest heavyweight champion ever. While McCoy was never a threat, Boston fans did get to see the Champ in action. Nobody complained as the outcome was a forgone conclusion.

So that was the only time Joe Louis would be seen in a Boston boxing ring, or was it? Well, no. Joe never again defended the title title in Boston, But he did return for a couple of exciting appearances a few years later. His second and third visits turned out to be more exciting than his fight against Al McCoy. For even though these bouts were labeled as exhibitions, they were in fact hard fought battles. The second bout in particular.

In June of 1948 Joe Louis had his last fight as champion when he kayoed Jersey Joe Walcott in the 11th round. 7 months earlier Walcott had give Louis all he could handle for 15 rounds while losing a decision many believed he deserved to win. Joe wanted to prove he was the better fighter and did. Most thought he would retire after the fight, and Joe wanted to but he was facing financial difficulties stemming from tax problems he was having with the IRS. Instead of calling it quits he went on a barnstorming tour of “exhibitions” where he figured he could pick up some easy money. Still being champion made him more marketable.

Johnny Shkor With Manager Johnny Buckley In 1947

On two occasions during his tour Louis stopped in Boston. His opponent in both matches was tough contender Johnny Shkor (pronounced “score”). Shkor was a hard punching 6’4” battler who weighed in at around 220 pounds for many of his fights. He was originally from Baltimore but fought out of Boston where he was managed by Johnny Buckley. He had a career final record of 52 bouts with 31 wins, 19 losses, and 2 draws. 22 of his wins came via knock out. His biggest victory was a 1947 stoppage on cuts of Tami Mauriello which took place at the Boston Arena. Shkor would also go on to face two future champs, Jersey Joe Walcott and Rocky Marciano.

The first encounter between Louis and Shkor took place at the Boston Arena on November 8, 1948 before 5,518 fans. According to Boston Globe sports writer Clif Keane it was a very spirited affair. And even though they fought with 14 ounce gloves Keane wrote “…there was more action in the four rounds than in Louis’ two titular fights with Jersey Joe Walcott…” Late in the fourth round Louis received a gash over his right eye from a clash of heads as Shkor waded into him. Former champ Jack Sharkey worked Shkor’s corner and former Welterweight Champion Jack Britton was the third man in the ring. 

A year and a week later the two would go at it again, this time at the Boston Garden. At this point Joe had announced his retirement and, though he denied it, was testing the waters for a title match against the new champion Ezzard Charles. 

Johnny Shkor Has The Deck In The Second Bout With Joe Louis

Their “rematch” was scheduled for ten rounds, and again they wore 14 ounce gloves. Before 8,471 fans they picked up where they had let off. Louis came out strong and dropped Shkor three times in the first three rounds, once in the second and twice in the third. It appeared the fight wouldn’t go further than the four rounds the two went the year before, but Shkor proved tough and durable while Louis was not in top condition. The former champ coasted a bit but still had to keep Johnny in his place as the former sailor was not giving up. Again, the fans got more than their money’s worth. Louis had nothing but praise for Shkor after the fight telling reporters Johnny had improved since their first encounter and should be taken seriously as a contender.

Joe Louis

While Joe kept denying he was heading for a comeback, 10 months later he was in the ring with Champion Ezzard Charles in what was a brutal fifteen round battle won by the Cincinnati Cobra. Louis continued to fight after that but never fought for the title again. Nine fights later he would be kayoed by Rocky Marciano in a fight that is still painful to watch. The great champion stayed on too long.

Boston fans were lucky in 1948 and 1949 to see the great Joe Louis in action, especially since he was in with a guy like Johnny Shkor who gave it his all. 

(I want to thank my friend Dan Cuoco for providing me with news clippings from the bouts.)

Book Review: “Damage: The Untold Story Of Brain Trauma In Boxing” By Tris Dixon,

Boxing’s Human Demolition Derby

By Mike Silver

The wealth of information contained in this remarkable book is more important than 100 medical papers about brain damage in boxing because it is written in layman’s language and exposes the personal stories behind the cold statistics and scientific jargon. Its words should serve as a clarion call for action on behalf of the athletes for whom boxing is not so much a choice as a calling. In bringing attention to this serious topic Tris Dixon does not seek to abolish boxing—although there is a strong case to be made for that both medically and morally—but to try and make a dangerous sport less dangerous by shining a light on a subject that is too often ignored or neglected by the boxing establishment. 

The first chapters reveal a litany of neurological studies that emphatically link boxing to chronic traumatic encephalopathy (CTE), which is a medical term for brain damage caused by repetitive concussive and/or sub concussive blows to the head. At least 70 years before Dr. Bennet Omalu famously discovered and published his findings on chronic traumatic encephalopathy in American football players, neurologists in the 1920s and 1930s had already made that same connection as it relates to professional boxers. At that time CTE was known to the general public by a different name—“punch drunk”. The term was used to describe boxers “who were losing their faculties in the form of slurred speech, awkward movement, memory loss, and other degenerative behavioral changes.” Eventually scientists and neurologists stopped using the pejorative “punch drunk” and replaced it with the more elegant sounding “dementia pugilistica”, which is just another name for CTE.

That would mean from the beginning of the last century to the present thousands upon thousands of boxers have been afflicted with varying degrees of brain damage.

Subsequent studies indicated the condition was not confined to any specific population of prizefighter. “It was not just the old fighters who suffered from it”, writes Dixon. “Nor, as the early research showed, was it just novices, sparring partners, and fall guys. Some fighters were burnt out before others, some fought long, hard careers, some were ‘punchy’ after a dozen fights.” Most alarming of all was a consensus by the scientists that approximately 90% of all professional boxers were affected in some way. That would mean from the beginning of the last century to the present thousands upon thousands of boxers have been afflicted with varying degrees of brain damage.

CTE is a progressive condition that slowly but surely gets worse over time. Dixon describes the ongoing research that is attempting to understand why some boxers develop symptoms early and others seem able to function normally until their 50s or early 60s when they suddenly drop off the cliff, so to speak, and quickly descend into a haze of mental confusion and premature senility even though the boxer has retired from the ring and repeated head traumas are at an end.

In addition to explaining the science, Dixon does not shy away from questioning the moral ambiguities of the sport. He quotes Dr. Ernst Jokl, whose book The Medical Aspects of Boxing (1941) is considered a seminal work for its time: “Of all the major sports, boxing occupies a special position since its aim is that of producing injuries, more particularly to the brain…similar injuries occur in sports other than boxing, e.g., in football or wrestling. But here they are accidents rather than sequale of intentional acts. Only in boxing are traumatic injuries unavoidable even if the rules are adhered to.”

Second-impact syndrome, which can result in permanent brain damage, is a common occurrence in many prizefights and sparring sessions…

Dixon notes that in recent years researchers have determined that one of the most dangerous aspects of both boxing and football is second impact-syndrome “when someone suffers a second concussion while still suffering from the first.” Second-impact syndrome, which can result in permanent brain damage, is a common occurrence in many prizefights and sparring sessions yet “is not widely discussed in boxing when it should be a regular part of the conversation…[it] is one of the most serious threats to brain injury, both in the long and short term. In second-impact syndrome, the first hard hit has done more damage than anyone suspects and then the boxer takes a follow-up shot and life can be irreparably changed. A fighter can be hurt in sparring and still not be healed by fight night, when disaster can strike.” The danger is compounded in the presence of an incompetent referee or ringside physician. Dixon laments the fact that boxing does not have the equivalent of the “tap out” in mixed martial arts (MMA) contests. But the “I am willing to be carried out on my shield” mentality is embedded into the culture of this ancient sport and in the minds of its fighters. Even so, modern gloved boxing was never meant to be a human demolition derby or a fight to the death.

His (Ali’s) family did not want to believe or admit that boxing was the cause.

Of course no book on brain injuries in boxing would be complete without mentioning the most famous boxer of them all—Muhammad Ali. Dixon devotes several chapters to Ali, starting when Ali began to show symptoms of CTE while still fighting. By his early 40s (a few years after he retired) Ali’s hand tremors, slowing of his speech and movement noticeably worsened. His family did not want to believe or admit that boxing was the cause. They claimed that he had Parkinson’s disease and his condition had nothing to do with boxing. While it’s possible that in later years he may have developed Parkinson’s disease Dixon quotes several prominent doctors who state unequivocally that boxing was the primary cause of Ali’s infirmity.

Ali actually suffered from Parkinson’s syndrome, which is destruction by trauma to the same parts of the brain that are destroyed by someone who develops Parkinson’s disease. It is not the same as Parkinson’s disease and has a different cause.

Ali actually suffered from Parkinson’s syndrome, which is destruction by trauma to the same parts of the brain that are destroyed by someone who develops Parkinson’s disease. It is not the same as Parkinson’s disease and has a different cause. CTE, which can cause Parkinson’s syndrome, is identified at autopsy by the presence of tau protein in the brain. Tau gradually breaks down brain cells, causing the reduced state fighters find themselves in while they’re still alive. Dr. Robert Cantu, one of the world’s foremost neurosurgeons, and senior advisor to the NFL Head, Neck and Spine Committee states that “CTE is a highly serious issue itself, but it could also be an accelerant to other neurological illnesses”, something he is almost certain of. “Of the great fighters who died and were diagnosed with dementia, Parkinson’s, ALS, or Alzheimer’s over the years, there is not only a chance that it was just CTE misdiagnosed, but it could have triggered different medical problems. You’ve got dementia, Alzhiemer’s, Parkinson’s but you got it twenty or thirty years earlier. But there are pure cases of CTE, and in those cases they’re probably not an accelerant, just the result.” Dr. Ann McKee, another renowned neuropathologist interviewed by Dixon, “has checked more than twenty-five boxers’ brains and has yet to see one that has not had CTE from fighting.”

“Statistics from CompuBox, which compiled the punch stats from 47 of Ali’s 61 professional fights, revealed he was hit 8,877 times.”

Dixon tells us that in 1981 a CAT scan of Ali’s brain was taken just before his last fight. It showed the type of atrophy that show up in 50 percent of boxers with more than 20 bouts—a percentage far higher than in the general population. This type of abnormality is found four times as frequently in boxers as in non-boxers. In the latter half of his 20 year career Ali absorbed a huge number of punches: “Statistics from CompuBox, which compiled the punch stats from 47 of Ali’s 61 professional fights, revealed he was hit 8,877 times.” That number does not include all the hits he took in countless rounds of sparring. Ali had stayed too long and paid a terrible price. At the time of his death at the age of 74 in 2016 Ali “had been unwell for 3 decades.” His brain damage was severe, and it was all due to boxing—not Parkinson’s disease as has so often erroneously been credited for his condition. Had Ali donated his brain for research the diagnosis of CTE would have been confirmed, as it has with the dozens of deceased boxers (and many more football players) who willed their brains to science. Instead, the most recognizable face on the planet was propped up as an advocate to find a cure for Parkinson’s disease. All well and good, but what he should have been was the poster person for brain damage in boxing.

Frankie (Pryor) told Dixon she wished that Ali’s family had publicly acknowledged the reason behind the icon’s demise as that could have helped countless more fighters understand what happened to them.

Frankie Pryor knows about CTE first hand. She is one of several wives of former champions who were interviewed by Dixon. Frankie’s late husband, Aaron “Hawk” Pryor, was one of the greatest fighters of the past 50 years. But, like so many others, he became a boxing casualty. Frankie told Dixon she wished that Ali’s family had publicly acknowledged the reason behind the icon’s demise as that could have helped countless more fighters understand what happened to them. “It was kind of always my one regret because the one fighter who had the notoriety and could have brought a lot of attention to this was Ali”, she said. “And then they went off on this Parkinson’s thing…I don’t think it was done maliciously. Maybe Lonnie [Ali’s wife] didn’t fully understand the impact, but just to say, ‘it wasn’t boxing, it was Parkinson’s.’ No it wasn’t.”

How sad for this tragic sport that there is no Muhammad Ali Center for patients and family members who are dealing with boxing induced brain damage.

There is a research center named for Ali in Phoenix, Arizona—the Muhammad Ali Parkinson’s Center. It is described as “a comprehensive resource center for patients and family members dealing with Parkinson’s disease.” That is the legacy the champ’s family prefers. But what does that legacy mean to the legions of damaged boxers who, like Ali, are suffering the debilitating effects of chronic traumatic encephalopathy? How sad for this tragic sport that there is no Muhammad Ali Center for patients and family members who are dealing with boxing induced brain damage.

Nevertheless, research into the causes and treatment of CTE continues thanks to the efforts of Dr. Robert Cantu, Dr. Ann McKee, and Dr. Charles Bernick. They are at the forefront of the science seeking to detect and track the earliest and most subtle signs of brain injury in those exposed to head trauma. A remedy to treat, or perhaps even reverse, the damage done by the tau protein is a long way off. Many of the studies will not bear fruit for another 10 or even twenty years. In the meantime what can be done to limit the damage? The answer: Plenty, but only if there is the will to change. Among the changes that Dixon says should be considered are glove size, reducing exposure by limiting the number of rounds and their duration, better education for referees and ringside physicians, and the use of head guards.

Dixon points out “the lack of detailed education with trainers, through commissions or sanctioning bodies. No memos have gone out since CTE was confirmed.

There are many people and organizations in the professional boxing world that are not anxious to accept the findings of the scientists or do anything of significance that might make the sport less dangerous. Dixon points out “the lack of detailed education with trainers, through commissions or sanctioning bodies. No memos have gone out since CTE was confirmed. Nothing changed, yet this—punch–drunk syndrome—was boxing’s problem before it was anyone else’s.” In the words of Chris Nowinski, a former Harvard football player, WWE wrestler, and founder of an organization called the Concussion Legacy, “Fighters are on their own…If you compare boxing to what’s happening in football or other sports there’s virtually no one looking out for the athletes…Without a centralized organization, there’s nowhere for boxers to get educated, no go to source, no self-help manuals, and no union.” Absent a centralized organization or boxers’ union (don’t hold your breath waiting for that to happen) the major promoter/entrepreneurs are in control. Referees and ringside officials are licensed by state boxing commissions but they are paid by the promoter. This is a clear conflict of interest as the promoter has a vested interest in seeing that a promising fighter under contract to him does not lose. Referees and ringside physicians should be completely independent of having anything to do with a promoter or sanctioning organization. Dr. Margaret Goodman, a respected former ringside physician for the Nevada Boxing Commission, explained how a promoter’s influence can determine who officiates: “If you [the ringside physician] stop a fight or recommend a fight should be stopped from a promoter that has big connections with the commission, you’re never going to work another fight again. Same thing for the referees. Same thing for the judges…there are too many outside influences, and the overall health of the sport has not improved as much as it could from those factors as well, which most people don’t take into account.” No one wants to see a boxer seriously injured but with no effective oversight in place the pervasive greed and corruption of promoters and sanctioning organizations takes precedence over any concern for the boxer’s health.

One cannot help but be moved and disturbed by the author’s accounts of his interviews with these damaged gladiators.

The best parts of the book involve Dixon’s description of his personal interaction with the boxers and their families. One cannot help but be moved and disturbed by the author’s accounts of his interviews with these damaged gladiators. Although the boxers were concerned about the long term effects of their punishing careers most said—and it speaks to the pull of this sport and how central it is to their lives—that they would do it again even if it meant winding up with brain damage.

“Fighters must be made to understand the cumulative toll sparring and boxing takes on them and they need to be prepared to walk away when the time comes.”

Dixon concludes with the following words: “The sport might not be able to save every fighter but it must give them the best chance of saving them from themselves. Fighters must be made to understand the cumulative toll sparring and boxing takes on them and they need to be prepared to walk away when the time comes. That is the hardest part for many fighters, and it’s why the sport should do more to help as they start a new chapter….It’s time boxing confronts its own worst problem, stops ignoring it, and steps up to address it at all levels. This is a sport of courage and it will take bravery but it’s happened in football, soccer, and rugby although it should not be up to other sports to take on boxing’s biggest fight.” It is a fight that is long overdue.

Damage: The Untold Story Of Brain Trauma In Boxing 

By Tris Dixon

Hamilcar Publications, 227 Pages, $29.99

Mike Silver’s books include “The Arc of Boxing: The Rise and Decline of the Sweet Science” and “Stars in the Ring: Jewish Champions in the Golden Age of Boxing-A Photographic History”; His most recent book is “The Night the Referee Hit Back: Memorable Moments From the World of Boxing”.

Controversy Brews Over Ogunquit Ocean Rescue

Ogunquit Ocean Rescue

Protecting Lives

Often Not Appreciated

By Bobby Franklin 

Ogunquit, Maine is known for, among other things, the great performances staged each year at the Ogunquit Playhouse. Unfortunately, the theatrics in this beautiful seacoast town are not confined to the stage of the Playhouse. The town with a year round population of just over a thousand residents has constant drama in its government. The players seem to be continually at war with one another, and quite often these battles become highly personal. The latest one playing out has to do with the leadership of Ogunquit Ocean Rescue.

At the end of June this year the interim Town Manager Matthew Buttrick decided to replace the Captain of the lifeguards, JP Argenti, with the incoming Fire Chief Russell Osgood. Even though Mr. Osgood has no experience as a lifeguard and is not certified for the position it was felt he could handle the job. This was done without public input, and it is unclear what, if any, input the Select Board had with the decision. The Town manager has said this was done to reduce the amount of department heads responding directly to him. Others have said it was because Mr. Argenti was pushing for pay increases for the lifeguards. The possibility that this was done for personal reasons has also been floated. The Town Select Board has remained silent on the issue other than to approve the appointment of Mr. Osgood as Lifeguard Captain.

Captain Jay Argenti and Guard Jacob Leonard Keeping Watch

The upshot of all of this is that Mr. Argenti, a twenty year veteran of Ogunquit Ocean Rescue and Captain for the past eight years has been dismissed and is no longer a member of Ogunquit Ocean Rescue. An additional fifteen lifeguards have either resigned or have signaled they will not be joining the service when scheduled to do so. Among these are the most experienced members of Ogunquit Ocean Rescue. This has all been happening just as the summer season is kicking into full swing. It is also a year that is seeing a 30 year high in lifeguard shortages across the nation, and an increase in drownings throughout New England. 

Over the past ten years I have spent a lot of time on the beach at Ogunquit. It is listed as the 7th most beautiful beach in the country, and it certainly deserves that designation. It is a breathtaking seashore with magnificent sunrises and sunsets, wonderful clean water, and a river with a strong current that flows into it. It can also be a bit treacherous as the sands are constantly shifting making for unpredictable riptides. On a typical beach day upwards of 20,000 people will pour onto the 1.5 mile long beach. When staffing is at full capacity there will be 17 lifeguards looking out for the public that is visiting. This out of a full compliment of 35. Most years the guards are about equally divided between male and female. 

On a typical beach day upwards of 20,000 people will pour onto the 1.5 mile long beach.

I once remember hearing someone on the beach remark while watching the life guards that “These kids get paid to hang around the beach all day. What a racket”. I get the feeling that sentiment is felt by the leaders of the Town of Ogunquit. I hope I am wrong, as the job of Ocean Rescue is much more complicated than “hanging around the beach all day”.

Then Jet Ski

Lifeguards must be Red Cross certified. At Ogunquit under JP Argenti, they went through extensive training that continued during the season. This training includes ocean rescue techniques, using a board and rescue can, CPR, first aid, AED (defibrillator), radio traffic, numerous workouts involving running, swimming, paddling, medical rescue scenarios, rules and guidelines. 

Guards also have to deal with such things as unruly people, enforcing regulations regarding alcohol and smoking, finding lost children, administrating aid to people suffering from heat related problems and even hypothermia caused by being in the cold water too long. They help disabled people on and off the beach. While doing all of this, team members also have to keep watch for people who may be getting into trouble in the water. Riptides are a major issue that can prevent swimmers from reaching shore. The lifeguards have to keep constant watch for signs that the water may be becoming more dangerous and remain alert for the dangers caused by these changes. 

If all that isn’t enough, the members of Ogunquit Ocean Rescue also assist people out of danger and back to shore  and prevent them from entering dangerous areas. They provide patrons information, perform water testing for Maine Healthy Beaches, monitor the plovers and the dunes, while on slow days (if there can be such a thing) they clean up the beach and do workouts and more training.

When jumping in to save a swimmer in distress the lifeguard puts him/her self in extreme danger. This is where the training and proper use of equipment pays off.

On top of all that, the most dangerous part of the job is springing into action to save swimmers who are in imminent danger of drowning. This is most common near the mouth of the river where the current becomes very strong during the changing tide as the water drops off and becomes colder as it enters the ocean. When jumping in to save a swimmer in distress the lifeguard puts him/her self in extreme danger. This is where the training and proper use of equipment pays off. Knowing how to maneuver the jet ski and board is a difficult skill to acquire but pays off when the time comes. When a life is in danger these “kids” take on a whole different aura of importance. They are highly skilled professionals, well trained, with the courage to risk their lives to save others. 

In the conversations I have had with JP Argenti over the years I have not only been impressed with his professionalism and knowledge of the beach, but also how steeped in the history of Ogunquit Beach he is. His dedication to his job and love for the area runs deep. He and members of the team could often be seen there after hours when he felt their services might still be needed. 

Ogunquit Lifeguards, 1926

Ogunquit Beach has a long and colorful history. There is some evidence the first lifeguards served on the beach in 1909 as tourism began to grow. At the time they were a volunteer group. In 1925 the Village of Ogunquit took control of the beach through eminent domain and it was designated a public park. The following year the Ogunquit Village Improvement Association set up the first publicly funded life guard service. A young Bette Davis was a member of that original group of life savers and wrote about her time with them in her autobiography. 

For many years only five lifeguards patrolled the beach. They would use a lifeboat when attempting to save people, but the techniques were not what they are today. In 1946 a lifeguard drowned and with the boat in disrepair, funding was increased. 

Lifeguard Bette Davis Working At Ogunquit Beach

Another incident in 1981 led to a further increase in funding when a child was pulled out to sea and never recovered. Over the years funding has been increased, but at times it has also been reduced. When JP took over as Captain he fought to increase funding and improve training and equipment. He did this to ensure the public would be safe by having the best lifeguards possible. 

The current starting pay rate for lifeguards posted on the Town of Ogunquit website is $18.00 per hour with a maximum of $21.50. There are no benefits included. I also looked to see if any bonus was given to those who worked last year in the midst of the pandemic while the beach was still crowded and the risk of infection was high. There was none even though parking revenue to the town was at a healthy level. 

What draws a person to seek employment as a member of Ogunquit Ocean Rescue? JP told me it is a combination of working at the beach along with the camaraderie, adventure, risk of the job, an interest in the medical fields as well as the friendships that are built. The biggest satisfaction is found in knowing the role they all play in keeping people safe. 

As with any professional, they expect a good measure of respect, something that is lacking in the town.

Pay is an important factor especially among the older and more experienced lifeguards who may have families to support, but it is not pay alone that draws them. They take extreme pride in their profession. As with any professional, they expect a good measure of respect, something that is lacking in the town.

The veteran guards play a very important role in helping the younger and less experienced members of Ocean Rescue learn the profession.

The veteran guards play a very important role in helping the younger and less experienced members of Ocean Rescue learn the profession. It is vital these veterans are there to pass on their wisdom. This is very serious work and there is no substitute for the skills that have been gained by having been on the job for a period of time. It looks like most of these top lifesavers are now gone.

Well Trained And Ready To Save Lives

The revenue brought in from fees charged for parking in the lots near the beach is a major source of income for the town. The fees have been raised and the hours when they are required have increased. People who pay these charges expect to have a level of protection while on the beach. That safety net is now in question.

Those active in town politics squabble over just about anything. The old saying that it takes a village doesn’t appear to apply in this hamlet of just 4 square miles. Most of the time these arguments and the petty backbiting that goes along with them don’t mean a lot. However, in the case of Ocean Rescue, people’s lives are on the line. It is a time for leadership and full transparency in the Town of Ogunquit. I have to wonder how much time the members of the Select Board have spent on the beach observing Ocean Rescue in action? I can only hope it doesn’t take a tragedy to bring people to their senses.

Ogunquit Ocean Rescue has been an elite force for years now. You would be hard pressed to find another life guard service that comes close to how the team under JP Argenti has performed. The Town of Ogunquit was lucky to have them; it’s too bad they don’t realize this.

Review: “Jimmy Buffet’s Escape To Margaritaville” At The Ogunquit Playhouse

You’ll Find Your Lost Shaker Of Salt

And A Lot More At The Ogunquit Playhouse 

Production of 

 Jimmy Buffet’s Escape To Margaritaville

Reviewed by Bobby Franklin

Photo: Nile Scott Studios/Nile Hawver

There hasn’t been a lot of sunshine so far this summer, but at the Ogunquit Playhouse everyday is a beach day with Jimmy Buffet’s Escape To Margaritaville, the 2018 Broadway hit that has now been adapted for the stage in Ogunquit. Director Richard J. Hinds was allowed freedom with the script that gives the musical the Ogunquit Playhouse magic touch, the touch that always makes things better.

The 2018 Broadway jukebox musical built around the music of Jimmy Buffet normally would not be considered very deep. However, as we are emerging from well over a year of social distancing and, for many, isolation, a work such as this allows us to laugh, sing together, and get back to what it means to share fun and music with one another. 

Jake David Smith, Cailen Fu.
Photo: Nile Scott Studios/Nile Hawver

Spending two hours with Tully ((Jake David Smith), Rachel (Cailen Fu), Brick (Matt Wolpe), Tammy (Megan Kane), JD (John Antony), Marley (Crystal Sha’nae), Jamal (Tyler McKenzie), and the rest of this energetic and enthusiastic cast allows us to have some of the much needed Changes In Latitudes, Change In Attitudes that we have been seeking.

It might seem odd to describe this musical as touching and moving, but 2018 seems like it was decades ago and songs and lines that might have seemed a bit corny back then mean much more now. It’s Five O’Clock Somewhere sure hits the spot now.

The story that begins with Tammy and Rachel visiting a Caribbean Island in the week before Tammy’s wedding brings together all these wonderful characters who end up finding much to learn from each other and what’s important in life. Rachel at first finds it hard to relax but finally lets her hair down with Tully (Son Of A Son Of  A Sailor), while Brick and Tammy connect during We Are The People Our Parents Warned Us.

The hotel/bar where Brick and Tully work and Rachel and Tammy are staying is run by Marley who has help from Jamal. Marley is quite the gossip as we learn in Coconut Telegraph. Ms Sha’nae uses a lovely patois as she sings while spreading the latest rumors. 

Matt Wolpe and Megan Kane.
Photo: Nile Scott Studios/Nile Hawver

From the opening number straight through to the close the energy of the cast was in full force . Mr. Smith when performing Margaritaville begins with a simple acoustic guitar and is then joined by John Antony, Matt Wolpe, Crystal Sha’nae, and Tyler McKenzie who were all marvelous as they build it into a terrific finale for the first act. It almost seemed a shame to have to pause for intermission. 

There are two zombie dance sequences that are quite something to see. The zombies are brought on by Brick’s anxieties, and sure make for some interesting staging. You wouldn’t mind having this gang show up at one of your barbecues. 

JD is a 76 year old beach bum who spends his days at the bar telling stories most of the people don’t believe. This changes during the touching He Went To Paris, where his life story is told and the non believers have their eyes opened. 

Being in the outdoor pavilion has not forced the team at the Playhouse to compromise on lighting and effects. While I am sure it has been a real challenge for them, they have pulled it off marvelously. The volcano eruption sequence is evidence of that. 

Photo: Nile Scott Studios/Nile Hawver

The staging is impressive and the sets are vividly colorful. I was quite impressed with the acoustics considering this is taking place in an outdoor pavilion. It rivaled what would be heard at the indoor venue. 

The show is full of high spots. A few that were even a bit higher for me were Why Don’t We Get Drunk with JD urging the audience to fill in the blank about what to do after imbibing. Come Monday with Brick and Tammy, and of course, Cheeseburger In Paradise where Tammy and Brick bring down the house. 

John Antony and Crystal Sha’Nae. Photo: Nile Scott Studios/Nile Hawver

While the audience was clearly thrilled with the production, the cast members showed by their enthusiasm how happy they were to be back on the stage. 

The orchestra, complete with steel drums, gives a solid Caribbean Island flavor to the score that makes you thirsty for a tasty margarita that is available at the bar. Situated high up on both sides of the stage it sounded great. 

I must confess, that while I grew up during the heyday of Jimmy Buffet and was familiar with some of his songs, I was far from a Parrot Head. After seeing this production I will be listening much more. At this point I’m now probably more JD than Tully, but it is still fun.

The superb cast, the delightful music, the summertime energy make this a must see show.

The superb cast, the delightful music, the summertime energy make this a must see show. With Ogunquit Beach just down the street and with ocean breezes wafting through the Leary Pavillon, you couldn’t ask for a better setting for a musical featuring the music of Jimmy Buffet. Even with all of the challenges it has faced, the Ogunquit Playhouse continues to exceed expectations. 

It’s time to enjoy life again, to smile and share and connect. Come and take a bite out of this Cheeseburger In Paradise in Ogunquit. You won’t be disappointed.

Jimmy Buffet’s Escape To Margaritaville

Through August 28

The Ogunquit Playhouse

Ogunquit, Maine

ogunquitplayhouse.org 

207.646.5511

. 

  

Cagney On Boxing Safety

Armed And Dangerous

Are Boxing Gloves Lethal Weapons?

Ask James Cagney

By Bobby Franklin

James Cagney

With the recent publication of Tris Dixon’s book Damage: The Untold Story Of Brain Trauma In Boxing (Hamilcar Publications), a discussion has been reopened about how dangerous boxing is and what should be done about making it safer, or less dangerous. When this excellent book first appeared I thought it would create a much bigger stir as it is an exhaustive study of the years of research into the affects of blows to the head that cause what was once called punch drunkenness, now called CTE or Chronic Traumatic Encephalopathy. The book lays bare the brutality of the sport and the severe and permanent damage caused to the brains of those who participate in it. 

I was at first taken aback by the lack of conversation over what happens to those who spend years in the ring, but I now realize that the truth is hard to face, especially when it is about something people love. Boxing is a highly emotional sport and those who are intoxicated by its primal attraction find it hard to justify their love for it with the reality of what is actually going on in the ring. It is easier to just shut one’s eyes than confront the truth.

For those who are willing to talk about it, there are those who say it is okay because fighters know the risks when they go into the profession. There are others who acknowledge the dangers and seek ways to better protect boxers. Very few call for an outright ban as that would not put an end to the sport but rather drive it underground.

Though there is much more research concerning brain trauma available now, the arguments over whether or not people should be allowed to beat each other up for the pleasure of spectators has been going on for decades. 

In the bareknuckle days most contests were illegal and had to be held while staying one step ahead of the law. That did not deter these fights from occurring and drawing large audiences. Eventually, boxing found respectability when practiced in private clubs when they were billed as exhibitions. But the public desire to watch these matches meant there was much money to be made, and as the 20th Century moved towards the Roaring 20s, boxing began to be legalized in more and more places and promoters built major fights into huge attractions drawing upwards of a million dollars and more. 

Boxing gloves are actually a weapon, not a safety device.

It was during this transformation that the boxing glove was introduced and billed as a way of making the sport safer and more civilized. This was the complete opposite of what the gloves did. In truth, they made the sport much more dangerous and lethal. Boxing gloves are actually a weapon, not a safety device. Add to wearing the gloves the taping of hands, and the fists are turned into weapons that deliver much more force than a bare fist could ever come close to. The reason for this is the bare fist will break when making forceful contact with the skull; the taped and gloved hand will not. The glove does not protect the brain, it protects the hand. In fact, if you want to make boxing less dangerous the best way would be to ban the boxing glove and any type of protection for the hand. I have been saying this for years.

Rocky Marciano’s Gloved Fist Lands On Jersey Joe Walcott

Recently, I came across an article by Red Smith published in the New York Times on September 11, 1974. In it Smith writes about a conversation he had with the actor James Cagney about boxing. He cites a letter from Cagney referring to a time the two met at Champion Ingemar Johansson’s training camp. In it Cagney wrote, “When we met at the Johansson training camp some years back, I struck you a glancing blow, with the suggestion that we take the gloves off fighters to try to eliminate the concussions caused by the padded mitts. The expression on your face was wonderful to behold, and I kind of had an idea that you were looking at a guy with three heads instead of two.”

Cagney, who had brothers who were physicians had learned a bit about brain injuries from them and was onto something about the “padded mitts”.

He also went on to say, “I worked with a lot of former fighters in the picture business, and I saw the results of getting belted about the head. You know, scar tissue once formed after a concussion continues to grow. That’s why it’s progressive encephalopathy.” 

Cagney continued, “If you ever hit anybody on top of the head with a bare fist, you wouldn’t try again in a hurry.

Cagey saw what many of us who have spent a lot of time around boxers have seen, but most do not want to face, boxing causes irreparable brain damage. Cagney continued, “If you ever hit anybody on top of the head with a bare fist, you wouldn’t try again in a hurry. You would learn boxing and body‐punching, and, that’s what I’m after. Gloves sacrifice the brain to preserve the metacarpals. Did you read about the last days of Lew Tendler, that great old lightweight, in a wheelchair with the classic symptoms of Parkinson’s disease?”

Notice how he mentioned Tendler showed the classic “symptoms” of Parkinson’s, not that he had the disease. It is now known that fighters do not develop Parkinson’s Disease from boxing, but rather something described as Boxing Related Parkinson’s Syndrome. This is caused by blows to the head.

It is interesting that a movie actor speaking in the early 1970s would have this knowledge, but it makes sense for a few reasons. First, Cagney had been around boxers all of his life and witnessed first hand the effects of the sport on them. Second, having doctors for brothers he was in tune with the medical aspect of what happens to the brain when it is repeatedly hit, and third, Cagney, being an actor, was an observer of human behavior as well as a highly intelligent man who could look beyond the surface when thinking about such matters. It’s hard to argue with his comments.

The boxing glove has allowed the sport to become extremely punishing to the human brain.

It is often said boxing is the most basic of sports as it pits two opponents against one another with nothing other than their fists. That is hogwash, it pits two well trained athletes against one another with lethal weapons in both hands. The boxing glove has allowed the sport to become extremely punishing to the human brain. For those who are looking for a way to make boxing less dangerous, listen to James Cagney. Let’s focus on protecting the brain, not the hands.

To read a review of Tris Dixon’s book go to: 

Book Review: “Damage: The Untold Story Of Brain Trauma In Boxing” By Tris Dixon,

Mamma Mia Returns To Theatre By The Sea In Rhode Island

THE ULTIMATE FEEL-GOOD MUSICAL MAMMA MIA!

RETURNS TO THEATRE BY THE SEA  AUGUST 18

In celebration of the return to live theatre, owner and producer Bill Hanney is proud to present an encore of Theatre By The Sea’s massive hit production of the international sensation, Mamma Mia! which will be presented from August 18 – September 5, 2021.

“We have been overwhelmed with the support from audiences who had been anxiously awaiting the reopening of the theatre after nearly two years!” said Bill Hanney. “The July Concert Series was very well received, and we expect Mamma Mia! to be just as popular, if not more, than it was when we originally produced the Rhode Island Regional Premiere back in 2018.”

Prepare to have the time of your life…again! Sophie, a 20-year-old bride-to-be, is on the search for her father. After reading her mother’s diary, she discovers there are three potential candidates. Unbeknownst to her mother, Donna, Sophie invites each of them to her wedding, in hopes of having one of them walk her down the aisle. As the big day draws near, surprises abound with old flames and old friends. Mamma Mia! is packed with 22 ABBA hits, including “Dancing Queen,” “Super Trouper,” “Take A Chance on Me,” and “The Winner Takes It All.” This worldwide mega hit will have audiences shouting “Gimme! Gimme! Gimme!” more!

Directed and choreographed by Theatre By The Sea’s Producing Artistic Director, Kevin P. Hill, who directed previous TBTS productions of Mamma Mia! (2018), Smokey Joe’s Café, Sister Act, Young Frankenstein, Mary Poppins, Grease, and Hello, Dolly! (2010); with musical direction by Bob Bray, who returns to TBTS after music directing Mamma Mia! (2018) and Hello, Dolly! (2010); the cast includes Lexie Dorsett Sharp, whose touring credits include School of Rock, Young Frankenstein, The Addams Family and Elf, as Donna Sheridan; Tiffani Barbour, who appeared in Mamma Mia! (2018) at North Shore Music Theatre, as well as on the National Tour, as Rosie; and Merrill Peiffer, who has played every Dynamo in Mamma Mia! and appeared in the 2018 TBTS production, as Tanya. In the roles of Sam Carmichael and Bill Austin are David Elder and Al Bundonis, who will be reprising their roles from the 2018 production. Mr. Elder’s Broadway credits include Curtains, 42nd Street Revival, Kiss Me Kate, Titanic, the Musical, Once Upon a Mattress, Damn Yankees, Beauty and the Beast, and Guys and Dolls, and Mr. Bundonis is well-known to TBTS audience as King Arthur in Spamalot (2014), Horace Vandergelder in Hello, Dolly! (2010), and Lawrence in Dirty Rotten Scoundrels (2009). In the role of Harry Bright is Jesse Sharp, whose tour credits include The Addams Family, Elf, and Grease. Sara Bartoszek and Markcus Blair will both be making their Theatre By The Sea debuts in the roles of Sophie and Sky. The ensemble includes Jamie Askey, Morgan Blanchard, Tyler Dema, Yoni Haller, Masumi Iwai, Breia Kelley, Derek Luscutoff, Sami Murphy, Brett Pederson, Kennedy Perez, Gracie Phillips, and Jake Urban. 

PLEASE NOTE: In light of the most recent CDC recommendations and for the safety of audiences, actors, and staff, masks will be required for all individuals, regardless of vaccination status, while in the theatre. Everyone is encouraged to wear their most creative mask, as prizes will be given at each performance! Theatre By The Sea thanks theatregoers for doing their part to keep everyone safe while celebrating the return of in-person performances.

Mamma Mia! will be presented from August 18–September 5, with performances scheduled for Tuesday through Saturday evenings at 8:00 pm, Thursdays at 2:00 pm, Saturdays at 3:00 and Sundays at 5:00 pm, with special performance times on Sunday, August 22 at 2:00 & 7:00 pm and a special added matinee performance on Wednesday, August 25 at 2:00 pm. The theatre is located at 364 Cards Pond Road, Wakefield. Tickets are $58 – $81 (additional fees may apply). Discount rates are available for groups of 10 or more by calling (401) 782-3800 x112. Tickets are on sale at the box office Monday through Saturday from 11:00 am–5:00 pm, and performance days until curtain, online 24-hours-a-day at theatrebythesea.com and via telephone during normal box office hours by calling (401) 782-TKTS (8587). 

Boston Theatres Announce COVID Protocols For Reopening

14 GREATER BOSTON THEATRES UNITE TO ANNOUNCE

COLLECTIVE COMMITMENT TO PUBLIC SAFETY

AS LIVE, INDOOR PERFORMANCES RESUME

 

Proof of vaccination or negative COVID-19 test and masks 

will be required for all audience members

New survey results show majority of arts goers

support these measures

The following is from a press release sent out by the Huntington Theatre:

Fourteen theatre companies in the Greater Boston area have banded together to announce a collective commitment to public safety as live, indoor performances resume in the region amid concerns around the rise in COVID-19 cases in the US.

These theatre companies will implement policies designed to protect the health and safety of everyone by requiring proof of vaccination or negative COVID-19 test for all artists, staff members, and audiences who attend live, indoor performances at their institutions. Masks will be required inside the theatres as well.

These policies will be in place starting immediately and valid through October 31, 2021 (in alignment with Broadway’s current policies), and will be reevaluated as the situation evolves. They are based on CDC guidance and were developed in consultation with public health officials. Individual theatres will list their specific protocols and guidelines on their websites.

The organizations joining in this effort are: Actors’ Shakespeare Project, American Repertory Theater, Boston Playwrights’ Theatre, Central Square Theater, The Front Porch Arts Collective, The Gamm Theatre, Gloucester Stage Company, Greater Boston Stage Company, The Huntington, Martha’s Vineyard Playhouse, Merrimack Repertory Theatre, Moonbox Productions, SpeakEasy Stage Company, and Wellesley Repertory Theatre. Other companies are expected to sign on in the coming weeks.

“We at The Huntington, along with our colleagues, are eager to welcome back audiences to live performances this fall, and we are prioritizing everyone’s health and well-being in order to safely reopen,” says Huntington Managing Director Michael Maso. “These measures will provide multiple layers of protection in our theatres – it’s what our patrons want, and it’s an essential part of our broader responsibility as public-facing institutions.”

“We’re committed to creating a culture of care,” says Central Square Theater Executive Director Catherine Carr Kelly, who is also co-vice president of New England Area Theaters (NEAT), an association of midsize theatres. “All of our companies are fully vaccinated. Requiring proof of vaccination or a negative COVID test, along with wearing masks, increases the safety for fellow patrons and also for the artists and staff of each company.”

AUDIENCE OUTLOOK SURVEY DATA AND THE DECISION-MAKING PROCESS

The recent announcements that theatres in New York City, Washington, DC, and Chicago have established similar policies around requiring proof of vaccination or negative COVID test and mask wearing, combined with the latest results of ArtsBoston’s Audience Outlook Monitor survey, gives Greater Boston theatres increased confidence in implementing these measures.

The Audience Outlook Monitor is a longitudinal survey sponsored locally by ArtsBoston and run nationally by independent consultant WolfBrown, that has been regularly providing Greater Boston arts organizations with data about audience perceptions, concerns, and intentions during the pandemic. It has been a vital tool for arts groups in developing their plans, policies, and communications strategies.

In the most recent round of survey data collected August 9 – 13, 2021, 80% of respondents indicated that proof of vaccination would make them more likely to attend indoor events, and 50% said that proof of vaccination or negative COVID test is a prerequisite for their attendance. According to the survey, 98% of respondents reported being fully vaccinated or planning to do so.

The survey showed that news of the delta variant has reduced audience demand to return to indoor performances right away. In the June 2021 survey, 18% of respondents said they wouldn’t attend an indoor event that week. That figure more than doubled to 39% in the recent August round of surveys. The increase reflects the rising level of concern of audience members

“After deep consideration on this topic and following the guiding principles of our Roadmap for Recovery and Resilience for Theater, we came to this decision, recognizing that the vaccines are now widely available and free,” says Mark Lunsford, ART Artistic Producer. “Along with enhanced ventilation and universal masking, vaccination and testing are critical cornerstones of our multi-layered mitigation efforts that prioritize the safety of our community of staff, audiences, and artists.”

“Requiring proof of vaccination or a negative test is the best way for us as a community to reopen responsibly,” says Paul Daigneault, SpeakEasy Stage Company Producing Artistic Director.  “It will allow us to move forward and continue to prioritize everyone’s safety – audiences, artists, and theatre staff alike.”

“The health and safety of the audience, artistic team, and staff must always be the first priority,” says Joseph Allen, associate professor and Director of the Healthy Buildings program at Harvard T.H. Chan School of Public Health. “That means when we have new tools available, we need to use them. On top of enhanced ventilation and masking, the vaccines offer an additional, and excellent, layer of protection that should give everyone even more confidence as we reopen theaters.”

 

PROTOCOLS FOR ATTENDING A PERFORMANCE

All patrons attending live, indoor performances at participating theatres must present proof of vaccination or proof of a negative COVID test before entering the venue, and must wear a mask inside the theatre.

Proof of vaccination may include showing either a vaccination card or a photo of the card, or a digital vaccine record (through an app such as Bindle at www.joinbindle.com/people). Anyone who is unable to be vaccinated or to verify their vaccination status for any reason will be required to show proof of a recent negative COVID test before entering.

Individual theatres may have their own guidelines and instructions for patrons; please see a theatre company’s website or contact them directly for further details about specific policies.

 

 

Live Theatre Returns To SpeakEasy Stage In Boston

THE SOUND INSIDE

Opens At SpeakEasy Stage

September 24

From September 24 to October 16, 2021, SpeakEasy Stage Company will proudly present the Boston-area premiere of the gripping drama THE SOUND INSIDE by Adam Rapp.

Nominated for six 2020 Tony Awards including Best Play, THE SOUND INSIDE is an intensely quiet play that introduces us to Bella Baird, a novelist who, in the seventeen years since she was last published, has almost completely isolated herself from the world.  But everything changes when she meets Christopher, a brilliant but enigmatic student in her creative writing class at Yale. As their friendship deepens, their lives and the stories they tell about themselves become intertwined in unpredictable ways, leading to a shocking request. Intensely intimate and deeply moving, THE SOUND INSIDE is “an astonishing new play… about fiction, both the kind we read and the kind we live.” (The New York Times)

Playwright Adam Rapp made his Broadway debut with THE SOUND INSIDE, which was commissioned by Lincoln Center and received its world premiere in 2018 at the Williamstown Theatre Festival.  A 2006 Pulitzer Prize finalist for his play Red Light Winter, Rapp is also the author of Nocturne (American Repertory Theatre, New York Theatre Workshop), Finer Noble Gases (26th Humana Festival), Stone Cold Dead Serious (A.R.T.), Blackbird (The Bush, London), and Essential Self-Defense (Playwrights Horizons/Edge Theatre), among others.  

Director Bryn Boice will helm this Boston premiere production of THE SOUND INSIDE Winner of the 2019 Elliot Norton Award for Outstanding Director, Large Theater for Commonwealth Shakespeare Company’s Universe Rushing Apart: Blue Kettle & Here We Go, Ms. Boice returns to SpeakEasy after having directed the company’s 2020 production of The Children. Ms. Boice also serves as the Associate Artistic Director at Commonwealth Shakespeare Company and is a professor at Salem State University.

Jennifer Rohn (Broadway’s The Kentucky Cycle) and Nathan Malin (SpeakEasy’s Admissions) will star in this production.

NATHAN MALIN (Christopher) is thrilled to return to SpeakEasy after appearing in its production of Admissions. Other area credits include Gone Nowhere (Boston Playwrights’ Theatre); The Crucible (u/s, Bedlam); Vanity FairThe Happy Prince/Matchless (u/s, Underground Railway Theater); 1984The Lathe of Heaven (Boston University); Maura Dunne (The Poets’ Theatre), Titus Andronicus (Actors’ Shakespeare Project); and Much Ado About Nothing (Boston Theatre Company). Nathan was also a production intern on Uncle Romeo Vanya Juliet (Bedlam). Training: Boston University, Shakespeare & Company.

JENNIFER ROHN (Bella Baird) is making her SpeakEasy debut with this production.  A 2019 Elliot Norton Award winner for her performance in Dark Room (Bridge Repertory Theater), Jennifer began her professional career appearing in numerous productions created by renowned experimental theatre director Robert Wilson.  She has also appeared on Broadway in The Kentucky Cycle and The Crucible, and in several Off-Broadway productions including Love’s Fire and The Caucasian Chalk Circle (The Public Theater); Romeo and Juliet (The New Victory Theater); The CIVIL warS (Brooklyn Academy of Music); and Another Person is a Foreign Country (Anne Bogart, director/ En Garde Arts). Her regional theater credits are extensive and include work for The American Repertory Theater, The Huntington Theatre, The Guthrie Theater, The Cleveland Play House, The Kennedy Center, The Seattle Repertory Theatre, The Philadelphia Theatre Company, and The Dallas Theater Center.  She toured Europe with Hamletmachine, and appeared at La Scala in Salome (Robert Wilson, director) and at The Barbican Centre in Love’s Fire (Mark Lamos, director). Her television credits include several television commercials, Law and Order, American Playhouse, and the film Crossing the Atlantic. Jennifer teaches at Bennington College.

 

THE SOUND INSIDE will run for four weeks, from September 24 through October 16, 2021, in the Roberts Studio Theatre in the Stanford Calderwood Pavilion at the Boston Center for the Arts, 527 Tremont Street in Boston’s South End.

For tickets or more information, the public is invited to call BostonTheatreScene Ticketing Services at 617.933.8600 or visit www.SpeakEasyStage.com.                

Live Theatre Returns To The Greater Boston Stage Company

THE 39 STEPS MARKS THE RETURN TO MAINSTAGE PROGRAMMING AT GREATER BOSTON STAGE COMPANY 

Live theatre returns to Greater Boston Stage Company! The raucous The 39 Steps kicks off the 2021- 2022 mainstage season on September 23rd as GBSC presents this fast-paced whodunit for anyone who loves the magic of theatre. This two-time Tony (R) and Drama Desk Award-winning treat is packed with laughs, a slew of characters, a plane crash, handcuffs, missing fingers, and some good old- fashioned romance. Adapted by Patrick Barlow based on the thriller directed by Alfred Hitchcock and the novel by John Buchan, The 39 Steps is directed by Associate Artistic Director Ilyse Robbins. Performances run September 23 – October 10, 2021.

“I am honored and thrilled (get it?) to direct this first mainstage show on our road to recovery,” says Robbins. “What better way to come back to the theater than to enjoy a good old-fashioned comedy/whodunit/romance where 4 actors play over 100 roles. I have the great good fortune to work with four of the funniest actors in town. They give new meaning to the words, ‘We wear many hats.’ I hope you will find yourself laughing as much as I do.” 

Russell Garrett

The cast of The 39 Steps includes Grace Experience, Russell Garrett, Paul Melendy, and KP Powell. The design team is comprised of Scenic Designer Shelley Barish, Lighting Designer Daisy Long, Costume Designer Rachel Padula-Shufelt, Sound Designer Andrew Duncan Will, and Props Master Emme Shaw. Shauwna Grillo is the Production Stage Manager.

For more information or to purchase tickets, call the Box Office at Greater Boston Stage Company at (781) 279-2200, or visit www.greaterbostonstage.org 

Greater Boston Stage Company is pleased to announce that we have joined with a coalition of Boston- area theatres to implement masking, vaccination and testing policies designed to keep our audiences, artists, staff and volunteers safe in accordance with CDC and local guidance. The following policies will be in place from September 1 through October 31. For more information, please visit:

http://www.greaterbostonstage.org/health-and-safety.html 

Murder In Montreal

Jeanette Zacarias Zapata

Dies After Suffering Beating In Ring

18 Year Old Had Been Knocked Unconscious 

Just Three Months Earlier

By Bobby Franklin

Jeanette Zacarias Zapata

Jeanette Zacarias Zapata took her last breath on September 2, three months, two weeks, and five days after having been brutally knocked out by Cynthia Lozano in a boxing match in Reynosa, Mexico. That fight held on May 14 was Zapata’s first bout since being stopped on November 9, 2018 at the Jose Sulaiman Arena in Monterrey, Mexico when she was only 15 years old and fighting as a professional.

When you read the news accounts of her death last week it will be reported that she died from blows received in a fight on Saturday night in Montreal, Canada. While it is true the right cross delivered by Marie Pier Houle was the final blow she would ever be hit with, her death was no accident. 

If you watch footage of her loss to Cynthia Lozano from back in May you will see eerie similarities in the way the two fights ended. In both, Zapata is trapped in a corner and seems not to have the skills to defend herself. In the fight in Mexico she sinks to the canvas in a way that would be seen this past week in Montreal. The difference between the Montreal bout and the fight in Monterrey is that after some time passed, the fallen Zapata was able to be revived. Revived to be allowed to fight again, or rather be used again by promoters looking to build up the record of an up and coming “prospect”. 

Zapata Before The Opening Bell

Some questions that should be answered: Was she given a thorough examination after being kayoed in Mexico? Was a brain scan performed? Was medical information about her condition known by the promoters in Montreal? Had the promoters seen footage of that loss? If so, did they have any concerns about her fitness to fight? And most importantly, why did they allow someone so young who had suffered such a terrible beating so soon before to fight? 

Marie Pier Houle is an undefeated pro with a record of 4 wins, no losses, and one draw. At 31 years of age she is a fully matured adult woman who was facing a pudgy teenager. Houle, a native of Quebec, has been fighting since June of 2019. It is clear from watching the fight that Houle completely outclassed Zapata. The teenager from Mexico was clearly just an “opponent” for the local favorite Houle.

The Fatal Blow Landed By Marie Pier Houle On Zapata

There’s no getting around what happened here. A poor teenage girl from Mexico is talked into turning pro at the age of 15. She has five fights, all in Mexico, winning only two. She is stopped twice, the second stoppage being the brutal knock out in Monterrey. A couple of months later she is brought up to Montreal to fight a hometown favorite on the undercard of a World Boxing Council sanctioned title fight. It is worth noting the WBC was founded by Jose Sulaiman. The same Jose Sulaiman whose name adorns the stadium in Mexico where Jeanette Zacarias Zapata once fought. The WBC is now run by Sulaiman’s son Mauricio Sulaiman. It is widely known that the WBC is a corrupt organization that uses its power to extort money from boxers in the form of sanctioning fees. These fees are taken out of the purses of the fighters. The safety of boxers has never been a priority for the people who run the organization. They have become quite wealthy off of the blood of fighters over the years.

Zapata Unconscious
She Did Not Wake Up

Boxing has always been a seedy sport populated by thugs and lowlifes. This was accurately portrayed in the movie The Harder They Fall, starring Humphrey Bogart. As terrible as the characters in the movie are, they look like den mothers compared to what is going on today. The current crop of sleaze that control boxing have sunk to levels never before thought possible; they are now using poor adolescent girls as fodder for their for- profit entertainment business. What’s worse, the public is paying to watch this perversion. 

Last week Jeanette Zacarias Zapata should have been hanging out with friends and doing the things teenage girls do. Instead, she was being led into a boxing ring after suffering a traumatic brain injury. She was being led to her death. She, like so many others, was nothing but fodder to be used to build up a new prospect. 

We are told Zapata was cleared by a doctor to fight. What real doctor would clear a kid who was recently knocked out so badly that she lay on the floor for minutes without moving? That is the very definition of a brain injury. That is the very definition of neglect. 

The following statement was issued by the Mexico based WBC: 

“The president of the WBC, Mauricio Sulaiman and the entire boxing family affiliated with the WBC, as well as all boxing, mourns this irreparable loss. We send our deepest condolences to the family and friends of Jeanette. May she rest in peace.” 

How caring, “The entire boxing family”. More like the Manson Family. I can just feel the love. 

I don’t know a lot about the personal background of the young Zapata. I very much doubt she came from an upper middle-class family. Odds are she was poor. She most likely wanted to improve her lot in life and was sold a bill of goods about how boxing could be her way to a better life. Her parents, if they were still in the picture, probably bought into the narrative as well. 

Like drug dealers giving kids their first taste of drugs to get them hooked, boxing people looking for opponents sell them on the narcotic called boxing while sweet talking them into how they will one day achieve fame and fortune in the ring. To a fifteen year old this would sound great. The reality is quite different.

Jeanette Zacarias Zapata

For those who say “Hey, these people know the risks they are taking. It’s their choice”, I would ask if they would let their adolescent son or daughter be used like this? Do you really think a young teenager is capable of weighing all the dangers involved in getting involved in such a profession? Would you really want your child being watched out for by the likes of the Sulaimans and others like them? Would you allow your child to step back into a boxing ring just less than three months after suffering a traumatic brain injury? Would you ever allow them to fight again?

Jeanette Zacarias Zapata will soon be forgotten. Boxing and the animals who run it will still prosper. Fans will still get their kicks out of watching kids suffering brain injuries for entertainment. Fighters will continue to die, but this rotten profession will live on. It’s sickening.

Mauriello Vs Louis

Tami Mauriello 

vs 

Joe Louis

Short But Exciting

By Bobby Franklin

Tami Mauriello

Tami Mauriello began his boxing career in 1939 fighting as a welterweight. He went undefeated in his first 24 fights before losing to the great Billy Soose by a split decision. He then went on an eight fight winning streak while moving up to the light heavyweight ranks where he earned a title shot in a bout with Gus Lesnevich. In only his second loss, Tami was robbed of the title coming out in the short end of a very unpopular decision.

Three months later the two would fight again and this time Lesnevich won a unanimous decision over Mauriello. After this loss Tami began his move into the heavyweight ranks. In his debut fight at the new weight he demolished Jay D Turner in the first round. Turner had nearly forty pounds on Tami but was no match for him.

Mauriello continued successfully campaigning at the heavier weight in hopes of landing a shot at champion Joe Louis. WWII put things on hold for Joe who was serving in the Army. Meanwhile, having scored wins over Gunnar Barland, Tony Musto, Red Burman, and a draw with Bob Pastor, In 1942 Tami was matched against Jimmy Bivins for the Interim Heavyweight Title. The fight with Bivins was a spirited affair with Jimmy gaining a 10 round split decision and the Interim Title.

Tami was back in the ring soon after scoring four wins including victories over Lou Nova and Lee Savold, he got another shot at Bivins. This time Jimmy won by a majority decision.

Tami On The Attack Against Lesnivich

Mauriello would have to wait a few years before getting another crack at a title, but he stayed busy. He fought 26 times before finally getting his shot at Joe Louis. Out of those 26 fights Tami won 24, losing only to Joe Baski and Lee Oma. He avenged the Oma defeat. He also beat Gunnar Barland, Lee Savold, and Lou Nova again, as well as knocking out British Champ Bruce Woodcock. He now was signed to fight Joe Louis.

Most observers felt that even an older Joe Louis who had recently returned from the Army and had won a long awaited but disappointing rematch over Billy Conn, would have no trouble with Tami. Yet, they also knew Mauriello possessed dynamite in his right hand, and there were distant memories of what Max Schmeling had done to Joe back in 1936, kayoing the Brown Bomber with overhand rights. Joe had learned from that loss, but could the fact that he had slowed down over the past ten years coupled with his inactivity because of the war make him vulnerable once again? That, coupled with the fact that Tami was a legitimate contender, was enough to make the match interesting to fans. 

On September 18, 1946 the two stepped into the ring at Yankee Stadium before a crowd of 38,494 fans. The fight would last just a little over 2 minutes but there were fireworks. 

Tami came to win and he went right after Joe. Many believe what happened in the opening seconds of the first round was just a lucky punch by Mauriello, but if you watch the film closely you will see Tami had a plan, though one he was able to follow through to completion. 

Mauriello Lands The Right On Louis

At the bell the two came out of their corners with Joe stalking the challenger and Tami circling to his left. After just a few seconds Mauriello threw a wide left hook with caught Joe’s attention. While Louis was distracted by that punch, Tami let go with solid straight right hand catching the Champion flush on the jaw. Louis shaken by the punch and  appeared briefly to be hurt. The crowd went wild sensing a massive upset was in the works. However, Joe quickly regained his composure and tore into Mauriello who desperately tried to land a follow up right hand. 

Joe then settled down and started landing short hard shots on Tami who went down twice, but all the time he fought back ferociously. At the 2:02 mark of the round the fight was over. The crowd felt they got their money’s worth, and Tami would always be remembered for his booming right hand shot that connected.

Joe Lands A Left Hook That Lifts Tami Off His Feet

It has to be noted that this was not a lucky punch. Tami’s use of the decoy left hook was a strategy that nearly worked. He drew Joe’s attention with the move which set up the opening for the right hand he threw. Mauriello was a very, very good fighter, and he knew what he was doing. He just couldn’t follow up against the great Joe Louis.

Tami continued fighting until 1949 when he retired with a record of 82-13-1 including 60 wins by knockout. He was only stopped on 4 occasions. Movie fans will remember seeing him in the classic movie On The Waterfront alongside Marlon Brando and Lee J. Cobb.

Tami Mauriello passed away on December 3, 1999 suffering from dementia  caused by boxing, the fate that most fighters end up dealing with. He will always be remembered for his match with Louis, but should also get the respect he deserves for the stellar boxing career he had. Tami’s right hand would tear up today’s so-called heavyweight boxing division. 

Len Abram Looks Back At W.C. Heinz’s “The Professional”

The Professional, A Novel. W.C. Heinz.

Foreword by Elmore Leonard. Da Capo Press, 334 pages. 2001. 

By Len Abram

Six-plus decades after its publication, W. C. Heinz’s novel “The Professional,” about a young middleweight boxer preparing for his first championship fight, has reached classic status, that is, a standard for a book about boxing, and a model for the art of writing itself. 

The young man, Eddie Brown, and his aged manager, Doc Carroll, are reaching for the dream in boxing, a championship. The novel covers the month in training camp before the big fight. Boxer and manager are facing the riskiest moment in their careers, decided in one hour on a Friday night at Madison Square Garden. They won’t get another chance. 

To Frank Hughes, the sports writer covering the training and the fight, this is the “Moment of Truth.” At this point in a bull fight, fighters face the bull, drop the cape, and rush forward with a sword. They are committed to victory or goring. Classics are often about courage. In “The Professional,” to behave with courage may be more important than winning or losing.  

How the boxer, manager, and trainers prepare and withstand the challenges to their big fight is the center of the story. The novel, set in the 1950s, offers a glimpse into boxing at its peak, the so-called Golden Age of the sport before its decline. 

If he hadn’t done this novel, Heinz had achieved enough success as a writer to be remembered. First and foremost, he was a newspaper man, a journalist. His sports writing has been anthologized. His biography of football legend Vince Lombardi went through 15 printings. Heinz’s second novel was the basis for the hit movie MASH, and later a popular TV series.

Journalists find his column “Death of a Racehorse” a model for a restrained, powerful elegiac to a race horse, injured and euthanatized. The brevity and eloquence of the column, some say, compare favorably with Lincoln’s Gettysburg Address. 

Elmore Leonard, who wrote a forward to the novel, credits Heinz as his major influence. Heinz’s prose has been praised by the dean of boxing writing, A. J. Liebling and his fiction by Ernest Hemingway. Like the reporter Frank Hughes, Heinz felt a special connection to the ring and the practitioners of the sweet science, Liebling’s classic description of boxing. 

As for Hemingway, who praised “The Professional” as the best novel about boxing and the best first novel by anyone, the two men were colleagues and friends. In World War II, they were correspondents with American forces fighting in Europe. In the last days of the war, they shared a house in Germany.  Hem, as Heinz called him, and Heinz wrote their dispatches from there for American magazines, like Collier’s. Hemingway even borrowed Heinz’s portable typewriter to write one.

Close as they were, Heinz did not learn his writing style from Hemingway.

Close as they were, Heinz did not learn his writing style from Hemingway. They both trained as journalists to report the facts, restraining biases, to show readers what they didn’t have access or ability to see, to decide for themselves. Hence, their style of writing is crisp, where what people say and do count, and less what people think, unless it emerges as speech or action. 

For example, before the fight, Brown is interviewed on television by a woman talk show host. Doc Carroll at first resists the interview, not trusting the media, but gives in. The outcome for him is one of the few adjectives, “dreadful.” Heinz’s scene is just the facts, but they show character, Brown’s naivete and the host’s nastiness. 

“Now, Eddie Brown, you’re married, aren’t you?”
“That’s right.”
“Do you have any children?”
“We have a boy.”
“How old is he?”
“Five.”
“Do you want him to become a fighter?”
(Eddie explains that his epileptic son cannot do contact sports. The TV woman overstates her condolences to get to her real bias: she doesn’t like boxing or boxers.)
“I am sorry to learn that. I truly am, and I’m sure we all are.”
“Thank you. He’ll be allright.”
“But if he were perfectly healthy, would you want him to be a fighter?”
“That’s hard to say.”
“Is it hard to say? Don’t you really mean that you have your doubts, and having them, you wouldn’t want your son to be a fighter. Is that right?”

In the novel, television in the 1950s is an inevitable force in American life, but not positive for boxing. A person does not have to be a Luddite to see that a technological advance brings unintended outcomes – witness the cell phone.  

According to Doc Carroll, television changes the fight game. He laments that fans now stay in their living rooms to watch a fight rather than lining up at Madison Square Garden.

According to Doc Carroll, television changes the fight game. He laments that fans now stay in their living rooms to watch a fight rather than lining up at Madison Square Garden. In addition, fans used to attend local venues, like at community centers, to watch local amateurs, who learned boxing from local fight clubs. Now fans can watch bouts with talent from all over the country without leaving home or a local bar. Eddie Brown started his boxing career locally with Golden Gloves. Where would new talent come from to be nurtured, trained, and in Doc’s case, managed? 

Unstated but likely too, what would happen to Frank Hughes’s career? He’s a sports writer, in dozens of newspapers with eight million readers. Television will take audiences away from print media. In one study, newspaper subscriptions are only 30% of the what they were in 1950. 

Regardless of these concerns, the novel celebrates high achievement. Beyond ability, dedication is the first requirement for the professional. Eddie Brown’s life for nine years and ninety fights has been focused on mastering his sport. 

But Doc knows, there’s more to the professional than dedication and experience. Control over the body, sharpening the conditioning and reflexes, improving strength and eliminating weakness, these are all essential, but not complete. Brown is the Pro because of one more virtue.

W.C. Heinz

The professional controls emotion.  Boxing, as champion Benny Leonard said, is a game of chess; not brain over brawn, but brain in charge of brawn. “Excitement is for amateurs,” says Doc. The professional learns “to control excitement without killing it.” So, too, a writer like Heinz has learned to control and focus emotion, harnessing his feelings behind solid sentences, without flair or fanfare. 

Dedication. Restraint. Control. These make the professional fighter or a writer or any person. Sports are a theater for the human condition. Boxing for Heinz is the main event. 

Chris Jones, a young writer for Esquire magazine, says, “With Bill Heinz in my corner, always, I inched forward in the writing game.”

Boxing in 2021: Dumb and Getting Dumber 

By

Mike Silver

This past week the world lost a giant of musical theater, the legendary lyricist and composer Stephen Sondheim. One of the quotes attributed to Sondheim struck a chord with me. 

“The dumbing down of the country reflects itself on Broadway. The shows get dumber, and the public gets used to them.” 

If we replace the word Broadway with Boxing the quote can just as easily apply to the current boxing scene:  

          “The dumbing down of the country reflects itself in every aspect of boxing. Boxing gets dumber and the public gets used to it”.  

Boxing currently has about 90 world champions (no one is sure of the exact number) spread over 18 weight divisions

Anyone who has seriously studied boxing history is aware the sport has always reflected the society that surrounds it. That still holds true for today. Just consider one aspect—music. The great golden age of Jazz, musical theater, the Big Band Era and Rock and Roll, all coincided with the golden age of boxing from the 1920s to the 1950s.  When the heavyweight championship of the world mattered far more to society than it does today celebrity boxers such as John L. Sullivan, Jack Johnson, Jack Dempsey, Joe Louis, Rocky Marciano, Patterson, Liston, Ali and Tyson were not just important to the sport, they were also pop culture icons who were reflective of the era in which they fought. Today’s pervasive junk culture, where mediocrity is celebrated and flash over substance is the norm, has infested virtually every aspect of society and our lives, including boxing. It’s very appropriate to the times that most people–outside of those who still follow this sport–cannot name the current heavyweight champion, or the one who preceded him.  

“Today’s world champions and contenders are at the lowest caliber it has ever been in over 100 years”.

If you want to dumb down and ruin a professional sport, then boxing should be your template. No other sport has experienced the type of out of control anarchy that has plagued professional boxing for the past several decades. Aside from the industry’s lack of integrity, coherence, or respect for its fans, the boxing skill (or lack thereof) of the majority of today’s world champions and contenders are at the lowest caliber it has ever been in over 100 years.   

Case in point: The recently televised super bantamweight (weight limit 122 pounds) “unification” title fight between Stephen Fulton, the WBO (World Boxing Organization) champion, and Brandon Figueroa, the WBC (World Boxing Council) champion. 

“Skills common among champions in decades past, are impossible to acquire today”.

I’m not blaming the boxers for their lack of skills. It’s not their fault. Every fight today, with rare exception, is a dumbed down facsimile of what a match between top professional boxers used to look like. Fulton and Figueroa had the heart, desire and conditioning but lacked the subtle skills of a seasoned professional boxer. Such skills, common among champions in decades past, are impossible to acquire today. Aside from a dearth of competent trainers today’s boxers are not exposed to the type of competition that over time would add to their experience and improve their performance. From the 1920s to the 1960s boxers had, on average, 60 or more professional fights before getting the opportunity to fight for a world title. A boxer with less than 20 fights was still considered a work in progress. Today the average number of fights to a title is 10 to 20. Going into their fight Figueroa and Fulton had only 19 and 22 fights respectively. Sixty years ago their limited professional experience might have entitled them to an eight round preliminary match in the old Madison Square Garden—if they were lucky. A title fight pitting these novices against the then current world bantam or featherweight champions (think Eder Jofre, Rubin Olivares, Alexis Arguello) would never even be contemplated.    

“Fulton and Figueroa, like so many others, are not being taught properly”.

Even taking into account their lack of professional experience it was apparent that Fulton and Figueroa, like so many others, are not being taught properly. Instead of moving about the ring with the speed and footwork expected of featherweights they fought like amateurish heavyweights trying to overwhelm the other with power punches. Feinting, timing and judgement of distance were absent from their limited repertoire. There was no lateral movement. Both fighters were stationary targets and easy to hit. They did not step in with their punches but kept charging towards each other like two rams butting heads. When they closed and became entangled it was obvious that no one had taught them how to clinch. There were very few combinations thrown. They just mostly flailed away with “hail Mary” punches intended to knock out their opponent. When one landed it was usually by accident. 

Neither fighter displayed any coherent plan or strategy. As a result, the fight quickly deteriorated into a messy and artless brawl with every round looking exactly like the one that preceded it. If you saw one round you saw the entire fight. There was no change in tactics or adjustment in style because neither boxer was capable of doing that. The only intelligent comment made by one of the five incessantly yammering ringside commentators was that “they’re fighting like ‘rock ‘em, sock ‘em robots’”.  No doubt it was meant as a compliment, but is an apt description of boxers devoid of any cleverness or what used to be referred to as “ring guile”. As is often the case with today’s boxers they were getting hit far too often with punches that could have been easily avoided. Defensive moves in the form of parrying, ducking, sliding, slipping, weaving or simply taking a step back were nonexistent. According to CompuBox punch stats they threw a combined total of 1462 power punches (described as any punch not a jab) of which over two-thirds landed—far too many. Yet only 354 jabs were attempted, with barely 10% landing. If either fighter had employed an effective jab more often it could have changed the course of the fight. 

“The disappearance of the left jab is one of the more disturbing aspects of the dumbed down quality of contemporary boxing.”

Just as a comparison I watched a video of the Rueben Olivares vs. Alexis Arguello featherweight title bout from 1974 and counted up the number of jabs thrown by Olivares, one of the greatest punchers of the past half century. I stopped counting by the sixth round since Olivares had already thrown 216 jabs, 50 more than Fulton had attempted for the entire 12 rounds. The disappearance of the left jab is one of the more disturbing aspects of the dumbed down quality of contemporary boxing.

 If there is anything positive to say about this fight it is that both men were evenly matched. In the end Fulton was awarded a majority decision and thus unified the WBC and WBO super bantamweight titles. But don’t open the champagne bottles just yet. We should not confuse a “unification” fight with a fight for the “undisputed” title. The current IBF (International Boxing Federation) super bantamweight champion is Murodjon (let’s call him Muro) Akhmadaliev of Uzbekistan. In addition to the IBF title Muro also owns the WBA “Super World Super Bantamweight” title. No, that is not a typo. The word “Super” appears twice to differentiate it from the plain “Super” WBA title which appears to be vacant at this time. Adding another version of the same 122 pound title gives the WBA an opportunity to charge another “sanctioning fee” when the time comes to crown the next “super, super” world champion. What this means is that the WBA recognizes not one, but two versions of their same 122 pound world title. It is a clever subterfuge. More titles mean additional fees can be deducted from the boxer’s purse for the “privilege” of fighting for an organization’s title belt.  All four sanctioning groups are guilty of the same behavior. It’s why this farcical but dangerous sport currently has about 90 world champions (no one is sure of the exact number) spread over 18 weight divisions, at least 7 of which are unnecessary. Over the past 40 years millions of dollars in sanctioning fees have flowed into the coffers of the WBC, WBA, IBF and WBO with nothing of value being returned to the sport. One can never underestimate the arrogance and crass stupidity of these useless boxing parasites who continue to feed off of the blood, sweat and tears of the boxers they exploit. 

Mike Silver’s books include “The Arc of Boxing: The Rise and Decline of the Sweet Science” and “Stars in the Ring: Jewish Champions in the Golden Age of Boxing-A Photographic History”; His most recent book is “The Night the Referee Hit Back: Memorable Moments From the World of Boxing”.

Rest In Peace Marion Conner

Former New England Heavyweight and Light Heavyweight

Champion Marion Conner

Passes at the Age of 81

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By Bobby Franklin

Marion Conner had a magical smile. When you would see him flash it, it was hard to believe this man had a career in the most violent sport there is. Yet, there was a kindness to his face that belied his career as a professional prizefighter. On January 12, 2022 Marion Conner passed away. He had been suffering for a number of years from dementia brought on from his years in the ring.

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Marion was born in 1940 in Canton, Ohio. From an early age he was athletically gifted and participated in swimming, basketball, track, and football, but it was boxing that captured his imagination. I first met Marion Conner in 1965. I was a ten-year-old boy, and my father had taken me to some sort of sporting show.

At the time, I was a very shy kid, but for some reason loved to watch boxing on TV. When my father asked me if I would like to meet a real boxer in person, though a bit nervous, I jumped at the chance. He brought me over to this very handsome fellow with the friendliest smile. It was such a thrill for me to meet Marion Conner, and he made me feel like his friend. We squared off for a photo, and I never forgot that moment and the nice person who made me feel so important.

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About two years later, I would attend my first professional boxing card. It was on December 18, 1967. My father brought me to the Boston Garden where we were seated a couple of rows behind former Governor Foster Furcolo. As I sat there, I saw my friend Marion Conner step into the ring with the number one heavyweight contender, Joe Frazier. I now had a personal connection right into that ring, and I was so proud of how my friend handled himself. Outweighed by thirty pounds and in with one of the all-time greats, Marion did not give an inch. He was not an opponent. He was in there to win and go on to become world champion.

Unfortunately, he had run into one of boxing’s greatest fighting machines. Not only had Marion been decked, but the referee went down as well. When you look at a picture taken right after the fight, you can see the disappointment etched in Marion’s face. He had come to win and felt he had let everyone down. Well, he hadn’t let me down. He showed this now 12- year-old what courage and determination was all about. To me, he was a winner and a champion, and I was proud of him.

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Forty-five years later I would meet Marion Conner once again when he came to Boston to receive an award. We got to have another picture taken, and you can still see that wonderful smile on his face. We talked about his boxing career and how it still pains him that he never became a world champion. How thrilled he was to have met such greats as Joe Louis, Ezzard Charles, and Jersey Joe Walcott. His time living in Roxbury and training at the New Garden Gym, a gym I would later work out at as I tried my hand at a boxing career. His friendship with New England Boxing Champ Larry Carney and how much he respected Larry.

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When I asked him about his fighting style, he told me he was an aggressive body puncher with a very strong left hook to the head and wore his opponents down. As an amateur, he had competed as a southpaw and was turned around when he became a pro. In his first fight with Tom McNeeley, Marion credits a part of that win to switching to lefty midway through the bout. Boxing scribe Mike Marley remembers the bout that way as well.

When our discussion turned to his fight with Joe Frazier I was surprised to learn from Marion that his handlers told him to trade left hooks with Joe Frazier. That wasn’t very wise advice. I believe Marion’s best chance would have been to use his speed and a sneak right hand.

’On November 16, 1966, tragedy struck when Marion met rugged Greatest Crawford of Brooklyn, NY at the Canton Memorial Auditorium. Marion had an outstanding record of 30 fights, 23 wins, six losses, and one draw going into this fight. Crawford, who was 26 years old, was knocked out in the ninth round and was taken to a hospital after efforts to revive him failed. He underwent surgery to remove a blood clot in his brain but succumbed to the injury on November 17, 1966. The tragedy of that night took the fire out of Marion.

Marion’s wife, Emma, told me he was never the same after that fight. He would now let up when he had an opponent hurt. In his rematch with Herschel Jacobs, Marion had Jacobs cut but then backed off out of fear of hurting him. His post-Crawford record of 7-17-1 shows just what an effect the sad outcome of that fight had on him.

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During his career, Marion Conner fought many of the top names in an era when boxing was still a sport with many great fighters. Look at his record, and along with Joe Frazier, you will see many familiar names. Henry Hank, Herschel Jacobs,

Tom McNeeley, Jimmy Dupree, Levan Roundtree, Mark Tessman, Billy Tisdale, Billy Douglas, and Ronnie Harris, to name just a few. It is also something to note that Joe Frazier had 37 bouts against 30 different opponents. Only two of them were light heavyweights, one being Bob Foster and the other Marion Conner. Quite an exclusive club to be in. It has been a long time since that ten year old boy first met the boxer with the warm smile, but he was still the man I remember so well from that day. When heard he had died I felt very sad. I know he is still smiling. There was something very special about him.

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Marion and his lovely wife Emma had just celebrated their 60th Wedding Anniversary in November. Emma was his strength, and their’s was a wonderful love story. In his later years Marion devoted much time at the Food Ministry at the Community Life Church Of God In Christ. He was a good man.

So long Champ, you will be missed.

 

 

 

Cassius Vs Sonny: Banks That Is 

Cassius Tickles The Ivories While Sonny Dreams Of Victory

Clay Hits the Canvas for the First Time, Banks’ Life Ends In Tragedy

By Bobby Franklin

Cassius Clay was making quite the name for himself by the time 1962 had rolled around. He had a stellar amateur career behind him culminating in an Olympic Gold medal, and was undefeated in ten professional fights when he signed to fight Sonny Banks in Madison Square Garden on February 10 of the year.

Clay had already defeated some very respectable heavyweights, and this, coupled along with his self-promotion had drawn a lot of attention to the young man from Louisville, Kentucky. He had wins over the likes of Willi Besmanoff, Alex Miteff, LaMar Clark, and Alonzo Johnson. All were decent opponents.

Sonny Banks had a different career arc. He had not had any amateur bouts, and in his 12 fights leading up to his match with Cassius, he had won 12 and lost 2. He had been kayoed by Joe Shelton and lost a decision to Chuck Garett. He avenged the loss to Shelton with a knockout victory. His level of opposition was nowhere near the level of Clay’s, but he was known for having a solid punch. They had one common opponent, Tunney Hunsaker, whom Clay had beaten by decision in his first pro fight. Banks stopped him in two rounds. Hunsaker was the best Sonny had fought.

On fight night Clay was a five to one favorite. The bout didn’t attract a very big crowd but was on national television. It was a replacement fight for a match between Eddie Machen and Cleveland Williams, which had been postponed.

Clay was not expected to have any problem defeating Banks. He had much more experience, was faster, and was riding high at this early stage of his career. Banks was still getting his footing in the game. However, this was boxing and anything can happen in a fight. Cassius Clay was briefly tested in the early moments of the fight, and how he reacted gave some great insight into what he was made of.

Banks Drops Clay

In the first round of the fight, Clay came out dancing and self-assured. He was taking control early and moving on his feet a lot. Banks was following after him. At one point Cassius backed Sonny into a corner and appeared to have him trapped when suddenly, Banks unleashed a vicious left hook that caught Clay flush on the jaw. The former Olympian went down hard. I have seen this referred to as a flash knockdown, and Clay did get up fast, but make no mistake about it; he was tagged hard and appeared to have lost consciousness right after being hit.

As hard as he was hit, Clay regained his feet very fast. He was sent to a neutral corner by referee Ruby Goldstein while receiving an eight count. Another sign he was hurt was the fact that he put both hands on the ropes while in the neutral corner. Goldstein pulled his arms off the strands and sent him back into action.

Cassius recovered very quickly and was almost immediately on the attack. It was the first time he had been decked as a professional and he was not happy it happened.

Clay now stopped moving as much on his feet and focused on laser focused shots to the head. His hand speed was phenomenal, and he had precision accuracy. Banks began taking a frightful beating. This was quite a first round.

Clay Opens Up On Banks

In round two, Clay came out ready to end it. He battered Banks around the ring and dropped him near the end of the round. In the third round, the attack continued, and while Clay was not able to drop Banks again, he gave him a terrible going over. It was getting so bad that the referee called the doctor in to examine Sonny between rounds. The doctor told Ruby to keep a careful eye on the fighter and not hesitate to stop the fight.

As the fourth round opened, Clay continued his relentless assault. Referee Goldstein mercifully stopped the carnage after just 26 seconds. Other than the knockdown scored by Banks, this fight was as one sided as they come. However, it did tell us quite a bit about the potential of a young Cassius Clay. It also was the beginning of another tragedy in boxing. This one involving Banks.

Clay showed he could take a really hard punch, could be on the verge of being knocked out, and come roaring back. The fact that he rose from such a serious punch so quickly showed he was made of championship material. Cassius also displayed a killer instinct.
Once he perceived Banks to be a threat, he went to work, taking him apart mercilessly. He didn’t waste any motion, a fault he had throughout his career, and made every move count. He could be a brutal puncher when he put his mind to it. He had power, but more importantly, he had accuracy.

Banks Hits The Canvass

Poor Sonny Banks would end up one of boxing’s victims after the fight. He should never have been in with Clay to begin with. Even though they had similar professional records, Sonny had nowhere near the experience. He had no amateur career behind him and had not been in with the same caliber of opposition. I believe he was called in late to the fight as the promoters were looking to fill in the spot left open when the Machen/Williams bout fell through. Because of this, Banks gained notoriety by ending up on television and also because he had decked Clay. It was the worse thing that could have happened to him.

He was definitely seriously hurt by Clay, and worse, he was now a salable commodity. He would now be elevated to a level that was beyond where he would have been had he not fought Clay and had been brought along at a normal pace for a young prospect. In his very next fight he was matched with Young Jack Johnson. Johnson was a top ten heavyweight and vastly more experience than Banks, having stopped Zora Folley and beaten Willi Besmanoff, Ezzard Charles, and Marty Marshall. He had fought 41 times when he faced Banks. Johnson kayoed Sonny in the fifth round.

Referee Stops The Fight

After the Johnson loss, Banks went back to facing opposition more on his level and put together a number of wins over the next year and a half. He had not shown much improvement but still was a known name. In 1964 he was put in with Cleveland Williams. Williams had over 60 wins at the time with most coming via knockout. He gave Sonny a terrible beating stopping him in the 6th round.

This should have been it for Sonny Banks, but it wasn’t. Eleven months later he was put in with top prospect Leotis Martin. At this point Sonny had already taken at least three serious beatings. Boxing was not a profession he should have been pursuing, but he had a name because of the Clay fight.

It is said Sonny Banks died from injuries incurred in the Martin fight, but the circumstances leading up to his death began three years earlier in Madison Square Garden when he had his moment of glory against Cassius Clay.

Unfortunately, that notoriety cost him his life. In the Martin fight, Sonny was knocked out in the ninth round and died three days later. It is said Sonny Banks died from injuries incurred in the Martin fight, but the circumstances leading up to his death began three years earlier in Madison Square Garden when he had his moment of glory against Cassius Clay. His fame made him marketable for promoters, but he never made anything himself and was killed at the age of 24. A story not unusual in the fight game.

Remembering Ron Stander

Rest In Peace Ron Stander

Trained In Boston For His

Shot At The Heavyweight Title 

Against Frazier

By Bobby Franklin

Ron At The New Garden Gym In 1972

Ron Stander is best remembered for the courage he showed when he challenged Joe Frazier for the heavyweight title in 1972. The fight was stopped after the fourth round with Stander suffering multiple facial lacerations; however, he was never off his feet and had rocked Frazier in the first round. 

Stander, who was known as The Council Bluffs Butcher after one of two places he called home; Council Bluffs, Iowa. He also lived not far away in Omaha, Nebraska where the fight with Frazier took place.

Tom Lovgren was a boxing promoter in Omaha and he arranged for the fight to take place there. He was also an enthusiastic supporter of Stander who believed his local hero had a real chance at upsetting Frazier. Tom decided to bring Ron to Boston to train under the guidance of local fight guy Johnny Dunn. Mighty Joe Young a talented heavyweight from Brooklyn, NY was brought in as a sparring partner.

Young was managed by Frank Gioseffi who had been a heavyweight boxer himself in the 1950s. Frank fought on the undercard of the Marciano/Moore fight. Gioseffi later changed his name to Frank Gio and became a successful actor playing in movies and television. He was in Moonstruck, Once Upon In America, King Of New York, and Analyze That among many others.

Frank wasn’t able to make it to Boston with his fighter so I was asked to handle Joe for the training sessions. That was quite an exciting assignment for a teenage kid; working in the camp for a boxer training to fight for the heavyweight championship. 

His quietness could be taken as brooding, but in reality he was a very nice guy; very easy going.

I got to know Ron Stander while he was in Boston during that time. At first he was a bit scary and intimidating. His quietness could be taken as brooding, but in reality he was a very nice guy; very easy going. 

The ring at the New Garden Gym was quite small, so the sparring sessions turned into spirited affairs. Joe Young was no soft touch and the two of them went at it pretty hard. In an early session Young caught Ron with a left hook that cracked his nose. Not wanting to postpone the bout and risk losing their title chance altogether, Stander and Lovgren opted to use a full face headgear for the rest of the sparring sessions. This protected his nose but limited Stander’s vision while boxing.

After the workouts Dunn and Stander would head downstairs to the Ninety-Nine Club for dinner and pitchers of beer. While a hard worker in the gym, Stander wouldn’t give up his beer.

Ron Defeating Earnie Shavers

Tom Lovgren told me he was convinced Stander had a great shot at winning against Frazier based on the time Ron kayoed Earnie Shavers. It was early in both men’s careers with Shavers having a record of 12 wins and 1 loss with 12 knockouts, and Stander being undefeated in 9 fights with 7 knockouts. 

Shavers gave Stander a real going over in the first two rounds but Ron withstood the battering. Lovgren told me Ron actually broke his arm during the exchanges. Stander came on in the next two rounds and put Earnie down for the count in round four. Lovgren figured Stander could have a similar performance against Frazier. He even put his money where his mouth was by betting $10,000 on Stander at ten to one odds.

The fight took place on May 25, 1972 in at the Civic Auditorium in Omaha. As expected, Ron came out swinging. In the first round he caught Joe with a right hand that shook the champion. Stander held his own and many gave him that round. The crowd was pumped.

Trading With Frazier

Frazier went to work in the second round and by the third was starting to bust Stander up. By the end of the fourth round the referee intervened and put an end to the fight. Ron ended up with 32 stitches in his face, but he never went down and was swinging until the very end. 

For his efforts, Stander’s purse was $100,000 of which he took home about $40,000, the biggest payday of his career. Lovgren lost his bet but not his respect for Stander. He was proud of his fighter as were the fans at the Civic Center who turned out to cheer him on. Ron Stander had nothing to be ashamed of. 

Ron Stander passed away on March 8th from complications related to diabetes. He was 77.

Ron’s son Frank told Peter Huguenin of the Council Bluffs Daily Nonpareil, “As a father, he was probably one of the greatest guys in the world. He never would spank me. He was very, very gentle and loving to me and my sister. He was kind of a gentle giant. He was a different person when he was in the ring obviously, but he was very loving and caring and just always wanted me to keep it real with my deal and make sure I didn’t ever do anybody wrong and he never did anybody wrong and just be a good, genuine person.” 

That’s the Ron Stander I remember from back in Boston in 1972. 

Joe Frazier And Ron Stander

Stander would continue fighting after the loss to Frazier. He stepped in with the likes of Ken Norton, Scott LeDoux, James Tillis, Jeff Merritt, and Gerrie Coetzee. He was never able to pull out the big win, but always gave it his all. 

He retired in 1982 with a career record of 37 wins (28 by knockout), 21 losses, and 3 draws. After leaving the ring he worked as a machine operator at Vickers Inc. He made a decent living and was a good father and grandfather, well loved by his family and in his community of Council Bluffs where he lived until his death.

Ron Stander may not have been the most talented of fighters, but he was among the toughest. More importantly, he is remembered as a good man, something much more important than being a champion.

 

Frank Dell’Apa Remembers Mike Marley

Mike Marley

Remembered By His Friend 

Frank Dell’Apa

By Bobby Franklin

Michael Marley

The Harvard and Commonwealth Avenue Section of the Allston neighborhood of Boston was a very interesting place back in the 1950s and early 60s. Comprised mostly of apartment buildings along with some two family homes, it had a very New York feel to it. With a combination of nice restaurants and dive bars it attracted all types. The variety of immigrants that had settled there differentiated it from other parts of the city which tended to be defined by one group or another.

 Among the people who lived there over the years were Wrestler Maurice Tillet; also known as the French Angel, Killer Kowalski, and Wallis Warfield Simpson, the future Duchess of Windsor. Add the name of Michael Marley to that eclectic crowd.

From an early age Mike was a natural in front of a camera. He was quick on his feet, had a great sense of humor, and was never afraid to speak his mind. He grew up in Boston, but in many ways he was an old time New York City guy. He easily fit in with the crowd at Jimmy Glenn’s Corner Bar on West 44th Street while also being welcomed by a redneck crowd in Reno. Mike was comfortable in almost any setting.

LeRoy Neiman Sketch Of Mike During Exhibition Bout With Tommy Hearns

Mike Marley passed away on March 2 at his home in Falmouth, MA. The cause of death was Parkinson’s Disease. He was 71.

Recently, I had the pleasure of speaking with Mike’s longtime friend, Boston Globe journalist Frank Dell’Apa. The two attended the University of Nevada at Reno and it was Mike who encouraged Frank in becoming a newspaper writer. I already knew quite a bit about Mike, but in talking with Frank I really have gotten to know what a truly remarkable guy he was. 

I’d like to share some what Frank Dell’Apa told me about Mike:

Friendship With Ali

15 Year Old Mike Marley Upstages Muhammad Ali

 “It was the Ali relationship that defined Mike’s life. He was 12-year-old when Herb Ralby gave him a ticket to B’Nai B’rith Sports Lodge dinner at Sheraton – Mike was there to get Stan Musial’s autograph, he was a baseball fan at the time. But 20-year-old Cassius Clay stole the show, according to Ralby’s story in the Globe. That was it, Mike became an Ali fan and he started the Cassius Clay Fan Club, which became the Muhammad Ali Fan Club – Mike got business cards that billed him as “The World’s Youngest Boxing Writer” (also Ted Whitfield Fan Club) and became a Ring Magazine correspondent.

“Two years later, Ali came to Boston for the Liston fight and Mike called him at his hotel: Mike fired off an Ali-like rhyme and Ali recognized him as “you’re that kid that’s following me …” and asked Mike if he was “a black boy or white boy,” and Mike replied: “I’m a white boy, should I hang up?” Ali said no and invited him up to his room.

“Then Ali had the hernia operation and the fight was postponed; Mike went to the press conference at Boston City Hospital and Ali put him on the dais as “this little boy from Boston, My No. 1 fan”/ that’s when Mike praised Ali for his boxing prowess, etc. … and also his “humility,” which brought a smile to Ali’s face and also was Ali’s cue to get Mike off the podium since he was starting to actually take the limelight somewhat … they stayed in touch.

“Mike went to Lewiston and almost every Ali fight after that … he got to the training camp in Chicopee,  met everyone, including Diamond Jim Riley, Rudolph Valentino “Rahman” (Ali’s Brother). Angelo Dundee didn’t want to be responsible for Mike and prevented him from boarding the bus to Lewiston. (Mike ended up getting a ride with Diamond Jim Riley). Malcolm X had been assassinated Feb. 21, 1965; Ali-Liston 1 Feb. 25, 1965; Ali-Liston II May 25, 1965 – some thought Ali could be a target of assassins, etc.

“At that time, Mike met another Bostonian — Louis X, who became Farrakhan, they made a connection and met a couple times later – both went to Boston English. … Drew “Bundini” Brown, Wali Muhammad … Mike got on the bus with all of them post-fight (he was only white person on bus) and was part of the family from then on.  Mike’s mother, Dorothy, raised him and he loved her (a photo of her greeted you at his Falmouth home) and his brother Joe (Chip), but father figures/male role models were the boxing guys.”

As  Journalist

Mike With Kris Kristofferson

“Mike’s roots were in journalism and newspaper writing, old school Boston –  totally influenced by the sports writers of the Globe, Herald, Traveler, Post, Record-American, etc. he grew up with. … it was a competitive business and they were clever writers, wise cracking, sense of humor – Bud Collins took a liking to Mike when Mike was abut 12 – Mike always talked about Col. Dave Egan, John Gillooly, etc

“Then came the sports talk shows, they were naturals. Mike was a Glick Nick, he was up late with Larry Glick. To the end, he went to sleep listening to late-night radio talk, now on an Alexa. 

“Also, not many fight writers actually ever got into the ring, at least the modern generation – you guys that did get in there bring an unequaled understanding of the sport to your writing. Bobby Townsend in Brockton was another, he went on to modest pro career. Mike decisioned Townsend in the amateurs. Mike got his start in boxing at New Garden gym where he was trained by Al Clemente and Johnny Dunn. He fought at Arena Annex, the Fargo Building, and in Lowell. He received a boxing scholarship to University of Nevada-Reno, which is where I met him – first time I saw him he was in the ring and he won by TKO against an opponent from Chico State – he was basically all footwork, jab and move. (Crazy having a collegiate boxing team; those were the most passionate college sporting events I’ve seen to this day – forget Final 4s, Beanpots, football Bowl Games – when your classmates are in the ring, it’s not just school pride on the line, it’s something else, as well). [btw – just happened we both went to UNR, lucky for me]

“He told me it was after he fought Johnny Coiley that he realized he wasn’t going to be a pro. Later when at NY Post Mike sparred with Tommy Hearns in Atlantic City.

“We worked together in Reno, Mike got me hired on the school newspaper, then part-time at the Nevada State Journal. I went to Las Vegas before Mike, because Mike actually had been fired three times (and hired back twice) in Reno; minor things, and he would’ve gotten hired back had he stayed – but he decided to come back to Boston and was driving for Ambassador Taxi in Cambridge. Las Vegas Sun hired him and two years later he was hired by sports editor Jerry Lisker at the  NY Post – he covered the Yankees for a couple years, then boxing. I’d say Mike was destined for NY – he loved coming back to Boston and North End was a must (Limoncello, Mare; coffee at Café Dello Sport, Paradiso) … but Boston couldn’t hold him, he needed to be in NY.

 “It was a competitive scene covering boxing in NY; NYT/Daily News/Post/Newsday, also SI and AP/UPI – regulars, experts – Phil Berger, Michael Katz, Marley, Wallace Matthews, Pat Putnam, Ed Schuyler, Dave Raffo – ringside seats and up front at press conferences. Mike was ahead of everybody in “scoops,” and sheer New York-brashness even though Bostonian. He  found Roberto Duran’s father working in a kitchen, I think; also found Tyson’s father; wrote about Tyson getting into a street fight, etc. Mike was close with Tyson, and of course Ali. He also knew Larry Holmes well. As much as Mike admired Ali, he thought Holmes would’ve defeated Ali.

With Lifelong Friend Ali

 “Mike is the only person I know who worked for both Cosell and Don King … he passed the NY bar and could go toe to toe with Harvard Law grad Bob Arum and did so in press conferences. Won  6 Emmys (producer for SportsBeat / Cosell). He was in the room when Arum got involved in boxing for first time, Chuvalo v. Ali in Toronto – as Mike said, Arum had never seen a fight or been in one.”

Mike’s Character

“Mike had a heart of gold – he was a criminal defense lawyer, picked up a law degree from Fordham in his “spare time” while working for NY Post. He basically raised a young kid from Harlem via Big Brother, also sponsored young kids in Ghana. The essence of Mike was he never went after anyone that couldn’t defend themselves; he challenged the guys with the money and the frauds. He was a muckraking journalist and he defended those who needed help, whether in print or courtroom – and the rest of the time he just enjoyed life to the max.”

Thank you to Frank Dell’Apa for sharing his memories of Mike Marley. Mike will be sorely missed. I smiled when I learned Mike’s slogan for his law practice was “Reasonable doubt for a reasonable price.” It is tempting to call Mike a character, but that term isn’t fair. He was a truly interesting person who lived life to the fullest and did his best to help others. 

My deepest condolences to Mike’s brother and former grammar school classmate Joe Shadyac. 

Rest In Peace Mike Marley.

Boston Lyric Opera Presents “Champion: An Opera In Jazz”

THE GRIPPING TRUE STORY OF A PRIZEFIGHTING BOXER IS TOLD IN

“CHAMPION: AN OPERA IN JAZZ”

From the Grammy- and Pulitzer Prize-winning, Oscar-nominated team of composer Terence Blanchard and librettist Michael Cristofer.

Boston Lyric Opera returns to first full staging in a theater since 2019

May 18, 20 and 22 at the Emerson Cutler Majestic Theatre

 

The true story of six-time world champion prizefighter Emile Griffith is told in Boston Lyric Opera’s (BLO) new production of Champion: An Opera in Jazz by Grammy Award-winning composer Terence Blanchard (Fire Shut Up in My Bones), with a libretto by Pulitzer Prize winner Michael Cristofer. The contemporary opera is brought to the stage by acclaimed theater director Timothy Douglas and award-winning conductor Kwamé Ryan, and will be presented for three performances on May 18, 20 and 22 at the Emerson Cutler Majestic Theater. Tickets are available now.

Champion chronicles Griffith’s sweeping life story, from his beginnings in the Virgin Islands to his athletic success in America, through passionate love affairs and a tragedy that changed his life. The story is told as memories from an older Emile with dementia who is on a journey to redeem himself from the fight that left his opponent Benny “Kid” Paret dead.

Brian Major

Champion’s story alternates between the story of the physically strong yet gentle Young Emile, who finds success in St. Thomas as a women’s hatmaker with a raucous social life before being recruited by an American boxing promoter, and an older Emile whose post-boxing life includes a long-time male companion who helps him navigate mental and physical decline, and a search for redemption.

Griffith’s rise as a champion athlete ran parallel with his complex personal life; he married a woman, had sexual relationships with men, and openly frequented gay bars in 1960s New York. Whispers about Griffith became public when his opponent Benny “Kid” Paret taunted him in front of the media at a pre-match weigh-in. Enraged, Griffith dominated Paret in a brutal fight, landing a rapid series of 17 blows that ended the match and put Paret in a coma. Paret died of a brain injury soon after.

Markel Reed

“The story of Champion is one of a desire to find a sense of belonging,” says Acting Stanford Calderwood General & Artistic Director Bradley Vernatter. “The details may be unique to Emile Griffith, but it is the story of many.  Terence Blanchard’s score is a mix of styles, one that is uniquely American, and reveals the warmth of Emile’s story, and the complexities of his life.”

The cast of Champion: An Opera in Jazz includes returning artists and company debuts:

  • Brian Major (playing Emile Griffith) who makes his BLO debut;
  • Markel Reed (Young Emile) who makes his BLO debut;
  • Tichina Vaughn (Emelda Griffith, Emile’s mother) who makes her BLO debut;
  • Chabrelle L. Williams (Cousin Blanche/Sadie Griffith) who sang the lead role, Milica, in BLO’s Svadba and originated this role in the World Premiere cast of Champion at Opera Theater of Saint Louis;
  • Jesus Garcia (Luis Rodrigo Griffith) who starred in BLO’s most recent productions of The Barber of Seville and La Bohème;
  • Todd Thomas (promoter Howie Albert), who makes his BLO debut;
  • Stephanie Blythe (Kathy Hagen), who makes her BLO debut with this performance and was recently cast in the Metropolitan Opera’s 2023 production of Champion;
  • Neal Ferreira (Ring Announcer) a BLO Emerging Artist alumnus and veteran of many BLO productions, including the 2018 production of Leonard Bernstein’s Trouble in Tahiti; and
  • Nicholas LaGesse (Man in the Bar/Young Man), a BLO Emerging Artist.

Chabrelle Williams

Boston Lyric Opera’s Champion: An Opera in Jazz will be performed Wed., May. 18 @ 7:30PM, Friday May 20 @ 7:30PM and Sun., May 22 @ 3PM  at the Emerson Cutler Majestic Theater, 219 Tremont Street, Boston. Individual tickets start at $25 (plus fees) and are available now at blo.org/champion

 

 

A Greek Tragedy—Boxing Style

Book Review: “The Duke: The Life and Lies of Tommy Morrison by Carlos Acevedo”

Hamilcar Publications, 208 Pages, $18.99

Reviewed by Mike Silver

In 1989 a handsome and charismatic twenty year old undefeated professional boxer named Tommy “The Duke” Morrison was on a fast track to super stardom. But all was not as it seemed. “With his bleached pretty-boy look, his genuine charm, and his heartland roots” writes

Acevedo,  “Morrison was billed as a wholesome All-American type, despite an unsavory background that included any number of misdeeds, if not misdemeanors…Like Tyson, Morrison could not restrain his tumultuous nature—not for long, anyway.”

Tommy’s early career had all the earmarks of a “Tysonesque” buildup. That was no coincidence since his manager at the time was Bill Cayton, the entrepreneur who was also Mike Tyson’s first manager. In his first year as a pro Morrison was matched with one tomato can after another resulting in 20 straight wins, including 17 by knockout (15 in two rounds or less). The build-up was intended to impress the masses and get him lucrative television bouts and eventually a shot at the heavyweight championship. 

Despite the pushover competition, it was obvious that Morrison had a ton of natural talent and potential. As an amateur he was rated among the USA’s best heavyweights. He possessed good instincts, fast hands, and technical skills superior to most heavyweights. But what really set him apart was his explosive left hook. In addition, his PR team told the press that Tommy was a great nephew of the legendary movie star John Wayne (real name Marion Morrison aka “The Duke”). Whether true of not, the claim—never verified—added to his mystique. 

One year after turning pro Morrison’s knockout binge and photogenic visage caught the eye of Sylvester Stallone who decided to give the young fighter a co-starring role in Rock V. The notoriety vaulted him into the public consciousness but it was the beginning of the end for Tommy, although no one at the time could predict just how bad the train wreck was going to be.  

Aside from his usual recreational drug use, there is evidence that Morrison had begun taking steroids.

It was not just the Hollywood parties and endless parade of young women who found the attractive—and willing—movie star/athlete irresistible.  Aside from his usual recreational drug use, there is evidence that Morrison had begun taking steroids. The drug, popular with body builders and macho actors, was used by Morrison to maintain enough bulk to cope with oversized heavyweights.  Six months later he resumed his boxing career. His body now appeared more muscular and defined and fifteen pounds heavier. Thereafter he never weighed less than 220 pounds for a fight. 

Steroid use by an athlete has both physical and mental side effects. Unstable behavior, including lack of impulse control and poor judgement has been documented. If someone already has these tendencies they can be exacerbated. Injecting steroids can also negatively affect stamina over the long haul because the increase in muscle mass requires more oxygen to counter fatigue. This could have been the case in Morrison’s disastrous fight with former Olympic heavyweight champion Ray Mercer on October 18, 1991. At the time Morrison was undefeated in 27 fights with 23 wins coming by KO. He was the favorite to defeat Mercer (17-0). 

The referee, who seemed to be half asleep, stood by impassively while Mercer connected with nine punches, with the last three rendering Morrison unconscious. Only the ropes kept Morrison from falling.

Morrison dominated the first four rounds, outpunching and out boxing Mercer. But in the fifth round he suddenly seemed tired. In the midst of an exchange Mercer caught Morrison with a series of punches that drove him into the ropes. What happened next was one of the most disturbing endings to a bout ever seen. The referee, who seemed to be half asleep, stood by impassively while Mercer connected with nine punches, with the last three rendering Morrison unconscious. Only the ropes kept Morrison from falling. While still unconscious he was hit with six additional full power shots before the referee finally pulled Mercer off. It was a devastating defeat. 

Tommy Morrison

Tommy began his comeback 4 months later and over the next year knocked off eight opponents. The winning streak led to a match with former heavyweight champion George Foreman. In the best shape of his life, Tommy avoided going for the knockout, and instead used his superior speed and a jab and move strategy to win a unanimous 12 round decision. It was an impressive victory but just two fights later disaster struck once again when underdog Michael Bentt stopped Tommy in the first round after dropping him three times. Bentt was supposed to be a safe tune-up for an upcoming bout with heavyweight champion Lennox Lewis. The Lewis bout was cancelled. Not only did Tommy lose out on a 7.5 million payday, he also lost his manager who walked away from Tommy after the loss. 

It was at this point that Morrison’s private life began to spin out of control. Convicted of drunk driving and drug possession (it was not the first time) he served 14 months in prison. Resuming his career Morrison took on an assortment of professional losers whose sole purpose was to fatten the records of prospects and contenders.  Acevedo: “Now more than ever, it seems, Morrison and the boxing underbelly are intertwined like characters in the final, bleak pages of McTeague, handcuffed to each other  (one of them a corpse) in Death Valley, California, waiting for the blistering sun to render its impersonal judgement.” 

Boxing’s lack of uniform standards, even at the height of the AIDS epidemic, did not require blood tests.

If being an ex-con, a drug addict, a bigamist (yes, he was married to two woman at the same time), and an alcoholic wasn’t bad enough, in 1996 the Nevada Boxing Commission lifted Morrison’s license when a blood test revealed he had the HIV virus. The commission refused to give out details, but shortly thereafter Morrison held a news conference and revealed he had contracted HIV because of a “permissive, fast and reckless lifestyle.” One person who knew Morrison said he actually had gotten AIDS in 1989 but had remained silent in order to continue fighting. Boxing’s lack of uniform standards, even at the height of the AIDS epidemic, did not require blood tests. (Eventually with all the publicity about Morrison several states did adopt mandatory testing for AIDS).

As Morrison’s physical condition continued to deteriorate so did his mind. His thinking became increasingly delusional and paranoid, including bizarre claims of possessing powers of teleportation. Continued drug use and CTE just made things worse. Tommy eventually convinced himself he did not have the AIDS virus, claiming the blood tests gave a false positive result. But as long as he refused to be retested no boxing commission in the U.S. would license him to fight. 

Incredibly, ten years after his last fight, and still refusing to be retested, Morrison was granted a license to fight in 2007 at the Mountaineer Casino Racetrack in West Virginia. He knocked out a fighter with a 4-2 record in the second round. One year later he travelled to the Dominican Republic and stopped another obscure opponent in the third round. After a proposed match in Canada was cancelled when Morrison refused the boxing commission’s request for a blood test he finally hung up his gloves for good. 

But Acevedo does acknowledge that Morrison was a fine athlete with “the fastest hands of any heavyweight since a prime Mike Tyson.”

Morrison ended his career with a record of 48-3, with 42 knockouts. The record is deceiving. Acevedo: “On the surface, this ledger is impressive, but boxing is a sport in which nothing should be taken at face value. From the day he turned pro, Morrison epitomized the smoke-and-mirror world of boxing where the line between athletic event and consumer fraud is often thinner than a lightbulb filament”. But Acevedo does acknowledge that Morrison was a fine athlete with “the fastest hands of any heavyweight since a prime Mike Tyson.” He also pays tribute to “the kind of heart [guts] often lacking among his peers” and notes the lethal quality of his left hook that combined with an exciting style that made him a perennial fan favorite. 

In August 2013, Morrison’s mother told ESPN that Tommy had “full-blown AIDS” and was “in his final days.” She also stated that Morrison had been bedridden for over a year. Tommy Morrison died on September 1, 2013. He was 44 years old. 

Carlos Acevedo is that rare talent who inhabits the best of both worlds. He is a magnificent wordsmith whose knowledge and understanding of the “sweet science” is apparent on every page.

There are some very talented authors who have written colorfully about boxing but come up short in their actual understanding of the technical aspects of the sport; and there are other authors whose writing ability is mediocre at best, but whose knowledge of the art of boxing in all its varied nuance is matched by very few. Carlos Acevedo is that rare talent who inhabits the best of both worlds. He is a magnificent wordsmith whose knowledge and understanding of the “sweet science” is apparent on every page. That was my impression after reading his first book “Sporting Blood: Tales From the Dark Side of Boxing”. This work is no exception.

Mike Silver’s books include “The Arc of Boxing: The Rise and Decline of the Sweet Science” and “Stars in the Ring: Jewish Champions in the Golden Age of Boxing-A Photographic History”; His most recent book is “The Night the Referee Hit Back: Memorable Moments From the World of Boxing”.

George Foreman Not An All Time Great

Weak Opposition And Fatal

Flaw Keeps Him From Elite Status

By Bobby Franklin

George Foreman

Big George Foreman is remembered as a powerful man and a devastating puncher. His brutal destruction of Joe Frazier in 1973 is etched in every fight fan’s memory. It is mainly off of this performance that George made it onto many people’s lists of all time greats. That January night in Jamaica he looked fearsome. In taking Frazier apart so one sidedly, he took on an almost superhuman status. But on closer examination of his record and boxing technique, the all time great designation doesn’t hold up.

Going into the title fight with Frazier, George had an impressive undefeated record of 37 and 0. Only three opponents had gone the distance with him. Yet, even with those impressive numbers, Frazier was made a 3 1/2 to 1 favorite to retain the title. Joe was also undefeated at the time and had defeated Muhammad Ali in the Fight of the Century less than two years earlier.

While Foreman’s record looks good on paper, when taking a closer look at his opposition the numbers give a clearer picture of why he was the underdog. Out of those 37 opponents there were very few that could be considered serious competition. In fact, in his last bout before facing Joe, George fought Terry Sorrell, who at the time had had a total of 19 fights winning only 4. Sorrell would close out his career with a record of 29 fights with only 6 wins (3 by KO), 22 losses (10 by KO), and 1 draw. 

Some might argue this was just a warmup bout for George before stepping in with the Champ. Well, a warmup bout usually involves having a warm body for opposition. I’m not sure it was ever verified Sorrell had a pulse when he stepped into the ring. 

Three fights earlier George had faced the immortal Clarence Boone. Boone had a record of 30 fights, winning only 3 with 26 losses and 2 draws. Of those 26 losses he had been stopped 14 times. I think the promoters used the same undertaker that provided Terry Sorrell for George.

George Foreman’s vs Gregorio Peralta. February 16, 1970.

Go back one more fight and you will see where an opponent was dug up who made Boone and Sorrell look like Louis and Dempsey. On January 29, 1972, George faced the immortal Joe Murphy Gordwin of Houston, Texas. This would be the final fight of Gordwin’s career and he would bring his remarkable record of 1 win, 1 draw, and an astounding 15 losses (13 by KO) into the ring with him that night. George surely had to be terrified; terrified he might kill Joe Murphy. 

Go back a little further in George’s career and you will find such immortals as Vic Scott (1 win 2 losses), Bob Hazelton (3 wins, 6 losses), Leo Peterson (3 wins, 4 losses), and Fred Askew (2 wins, 6 losses, 1 draw).

Of course, when a young fighter is being brought along, it is not unusual for him to be given “opponents” to face. But usually those “opponents” are fighters who, while not posing much of a threat, do have beating hearts and the ability to provide some opposition so the prospect will have a chance to learn his trade and improve.

Looking back at the rest of George’s opposition in those 37 fights, you will not find a lot of strong opposition. While many are better than those I have just mentioned, most aren’t too far ahead of the Boones and Sorrells. 

George did face a few solid “opponents” during those years. Levi Forte (20 wins, 21 losses 12 by KO, and 2 draws) and Roberto Davila (21 wins, 14 losses 3 by KO) both were the type of boxer an up and coming prospect would be expected to face, and both extended George the full ten round limit.

The most notable names on Foreman’s record at the time were Boone Kirkman, Gregorio Peralta (twice), and George Chuvalo. His wins over Kirkman and Chuvalo were impressive, he struggled with Peralta.

Kirkman was another up and comer who had faced a series of “opponents” and had not been tested. George simply overpowered him.

Chuvalo was known as incredibly tough. He had never been knocked off his feet, and a number of years earlier had given Muhammad Ali a tough go of it. But with the exception of a very odd win over Jerry Quarry, the Canadian never beat a top rated contender. His slow moving style made him an easy target for Foreman’s heavy but wide swings. Big George did look impressive in stopping Chuvalo.

I have written about Foreman’s fights with Peralta. George won their first fight by decision, and stopped Peralta in their rematch. In both fights, George’s flaws were exposed. It was these flaws Ali exploited a few years later to regain the crown.

Looking at the accumulated record of Foreman’s opposition at the time of the Frazier fight you see that combined they had a total of 289 wins, 376 losses, and 58 draws. if you remove the three fighters who had a pulse from that group, Peralta, Chuvalo, and Kirkman you end up with a group that had a total of only 100 wins with 355 losses, and 48 draws. 

Foreman Staggered By Jimmy Young

After defeating Frazier, Foreman defended the title twice in impressive fashion knocking out Joe Roman in one round and Ken Norton in two. Roman would have been considered an opponent if he had fought Foreman earlier, and was far from having an impressive record. Norton was never able to stand up to a big puncher as was seen when he went on to be kayoed in one round by both Earnie Shavers and Gerry Cooney.

After those two defenses George lost the title to Ali who used many of the tactics the over the hill Peralta had employed a few years earlier. After the loss to Ali, George still did not score any major wins with the exception of his victory in a slugfest with Ron Lyle, which was a battle of attrition, not skill.

He closed out his career with a loss to the light punching Jimmy Young, who also used technique to neutralize George’s power. Without that power Foreman had no boxing skill to fall back on to win a fight.

Foreman’s Flaw On Display

His major flaw was extending his arms when trying to parry punches. If you watch him in action, it appears he is trying to emulate Jack Johnson’s strategy of catching punches with an open glove. Only with Johnson, he would grab the punch just before it was about to land on him. With George, he would reach out and try to stop it just as it was being thrown. As a fight moved along he would begin pawing with both his hands and leave himself open. Ali, Young, Peralta, and Lyle were all able to land on him because of this fatal flaw. Any one off the great, and even not so great heavyweights of the past would have spotted this flaw and taken advantage of it. 

George certainly had amazing raw power, but that only takes a fighter so far. He did not develop the skills to make him a great fighter. Sure, he would always have a puncher’s chance against anyone. But hoping for a lucky punch is not the stuff of greatness. George simply never showed the skills to be considered an all-time great heavyweight champion.

I have not discussed Foreman’s second career because it really is not relevant to this discussion. Foreman 1.0 was the prime George and the one to look at when judging him as an all time great.  

Did Baer Throw The Braddock Fight? Yes!

Braddock vs Baer

Was It On The Level?

By Bobby Franklin

(This article originally appeared in the Boston Post Gazette in 2019)

Baer And Braddock At The Weigh In

On June 6, 1934 Max Baer won the Heavyweight Championship of the World by defeating Primo Carnera in the 11th round. He had floored the courageous champion 11 times on his way to winning the crown. Baer, who had preciously scored a brutal kayo over Max Schmeling, looked like a man who would be champion for quite some time. He was a brutal puncher in the ring while possessing the charm of a Hollywood leading man outside of it. in fact, he had made himself a bit of a reputation acting in movies. He was a man sitting on top of the world.

Just a few days over a year later that would all change when Max put the title on the line on against the lightly regarded James J. Braddock. Braddock had been a leading light heavyweight contender a few years earlier, but injuries and a number of loses had derailed his career. He had managed to string together a number of wins over heavyweights and position himself for a shot at Baer. Nobody gave him a chance, and many thought he was risking his life to step in the ring with the murderous punching Max. 

In fact, earlier in his career Baer had killed Frankie Campbell in the ring, and many also believed he was the one responsible for the death of Ernie Schaaf who collapsed and died in his fight with Primo Carnera after being hit with a left jab. In an earlier fight with Baer Schaaf had taken some terrible shots and was knocked unconscious as the final round ended. He was saved by the bell and lost a decision to Baer.  It is believed the blows from Max had caused an injury to Ernie from which he never recovered, resulting in his death in the Carnera fight. 

It seemed unbelievable Braddock would have any chance against Baer. While he was certainly a very capable boxer, he just would not have the strength to hold off the dynamite that was in Max’s two fists. He went into the fight a ten to one underdog. However, he did go on to win the title that night, and along with that win he became known as the Cinderella Man. 

Most people are now familiar with the Braddock story from the 2005 movie directed by Ron Howard. In the movie Braddock’s fight with Baer is depicted as a life and death struggle with Jimmy hanging on to win a close and exciting fight. Actual footage of the fight tells a different story.

When I was a kid my father and I watched an 8mm film of the Braddock/Baer match on a home movie projector. It was the only time I had seen the fight until I viewed it again the other day. I do remember when watching it with my father how surprised he was at what he saw. He was a teenager when the bout took place but had never seen it. He was a great admirer of Braddock, particularly because after winning the title James had repaid the money he had collected while on relief (welfare) when things were bad for him and his family. I admired that about him as well.

They Were Just Dancing

What surprised my father while watching the film was how the two men were fighting. He had always believed Braddock had won in the manner depicted in the Ron Howard movie. After viewing the film for a short while my father exclaimed “Max threw the fight!” He was disappointed to see that, as it took the glow off of Braddock’s win. My father also liked Baer very much so that added to his disappointment. He justified it all by saying Max probably did it because he liked and felt sorry for Braddock and his family. 

I decided to take another look at the fight to see what I would think after all of these years. After viewing highlights from each of the 15 rounds, I have no doubt at all that Baer threw the fight. I even think it is possible Braddock was in on it as well. For most of the fight it looks like two guys trying not to hurt each other. It is nothing like the all out battle seen in the Howard movie. 

Let’s Talk

The fight, which took place on June 13, 1935 at the Madison Square Garden Bowl on Long Island, was one of the most boring in history. With the exception of one round, the 7th, Baer didn’t through any serious punches, and in that round he only opened up because the crowd was booing and he felt he had to look like he wasn’t dogging it. When he did land a decent right hand he hurt Braddock but immediately backed off. 

At the opening bell you would think it was Jimmy who had the tremendous power in his hands as Baer began the fight by backpedaling. As the fight progressed Baer did some clowning that brought laughter from the crowd and which was more exciting than fight itself. He also was talking to Braddock quite a bit, and if you watch closely it appears the two men are speaking to each other in the clinches. It would be interesting to know what they said to one another. 

They seemed to be afraid of hurting one another.

Going into the fifteenth round Braddock appeared ahead in the scoring. Max had to know this, yet he did nothing to try and save the title. In fact, the two men spent most of the round at close quarters exchanging light punches. They seemed to be afraid of hurting one another. The fact that Braddock was also not throwing hard punches gives me reason to believe he was aware of the fix. 

Braddock

In the end James J. Braddock was award the decision. The scoring on one judge’s card and the referee’s was pretty one sided. The other judge had it scored evenly by rounds at 7-7 with 1 even. However, he gave the fight to Braddock based on points which is the rule in New York when a judge’s card comes up even. 

Neither fighter made a particularly good payday out of this fight as it didn’t draw big money. Ironically, both would make the biggest purses of their careers in their next fight against the same opponent. They both took on Joe Louis.

I have not gotten into the reasons Max Baer would have thrown this fight, but after watching it closely I have no doubt that my father was correct when he said “Max threw the fight!

Remembering Carlos Ortiz

Carlos Ortiz

One Of The Last Of The

Golden Age Champions 

Answers His Final Bell

By Bobby Franklin

Carlos Ortiz

Carlos Ortiz passed away on June 13th at the age of 85. Born in 1936 in Ponce, Puerto Rico, Carlos began fighting professionally at the age of 18. Well schooled, he was a superb boxer/puncher who certainly rates up there with the best lightweights of all-time.

Ortiz turned pro in 1955 and Ortiz had a record of 28 wins suffering just one defeat over the first three years. That loss was to Johnny Busso in1958. He beat Busso in a rematch three months later. In 1959 he got a shot at the vacant Light Welterweight Title. In a bout against Kenny Lane Carlos won recognition as the new champion. 

He defended the belt winning by a tenth round knockout over Battling Torres in 1960. Next, he took on  the Italian champ Duilio Loi. The fight took place in California. Loi came in to the fight with 102 wins against just 2 losses. In a close fight Ortiz won a majority decision. This was only Carlos’s 35th fight and he was in there with an extraordinary fighter. 

Ortiz was so confident he could improve on his performance that he agreed to a rematch in Italy just three months later. This fight also ended with a majority decision but in Loi’s favor this time. The two met once more  in 1961. Again fighting in Italy with Loi winning a unanimous decision.

Carlos Ortiz Winning The Lightweight Title From Joe Brown

After the second loss to Loi, Carlos began fighting as a lightweight. In 1962 he challenged the great Joe Brown for the title. Ortiz won convincingly and his reign as champion began.

In 1965 he lost the crown to Ismael Laguna but won it back the following year. He would continue as champion until 1968 when he was defeated by Carlos Teo Cruz. Despite having lost by a split decision, Ortiz did not fight for  the championship again. He went into semi-retirement and fought only once over the next three years. That fight being a win against Edmundo Leite in November of 1969.

Carlos Ortiz Defeating Ismael Laguna In 1967

Carlos retired after that fight, but then made a comeback in 1971. As with so many fighters, he had fallen on hard times. Now 35 years old he was long last his prime but still felt he could win back the lightweight crown. 

After winning nine straight fights he was matched against Lightweight Champion Roberto Duran in a non-title fight on the undercard of the second Patterson/Ali fight in New York. Duran came down with the flu and dropped out of the fight a week before it was scheduled to happen. Former Champ Ken Buchanan stepped in to take his place.

Maria And Carlos Ortiz

The match turned out to be one sided. Father time had caught up with the great champion. Ortiz, exhausted, retired after the 6th round. He gave it all he had but just could not turn the clock back. It was the only time he was stopped in 70 fights. When interviewed after the fight a candid Carlos said 

“This was definitely my last fight. I started tiring in the 4th round. And I realized after the 6th that I couldn’t go on and I didn’t want to make a fool of myself. I was in the best shape I could have been. Time just caught up with me.” 

Boxing historian and author of The Arc of Boxing, Mike Silver knew Carlos well. I reached out to him for his thoughts on Ortiz, the man and the boxer. Here’s what he had to say:

Mike Silver remembers Carlos Ortiz: Carlos Ortiz’s storied career represents so much in boxing that has been lost over the past two generations. He was among the last of the great “golden age” champions and contenders who turned professional in the decade after World War II and achieved a level of skill that evoked admiration from the old-time trainers who’d seen every great lightweight champion since the 1920s. He was a consummate boxer and ranks as one of the greatest lightweight champions of the 20th century, up there with Leonard, Canzoneri, Ross, McClarnin, Mandell, Ambers, Williams, Carter and, yes, Roberto Duran. How he would have done against those legends is pure speculation, but they would have been competitive contests. Taking nothing away from Duran, but Ortiz’s competition in the lightweight and junior welterweight divisions had more depth. Duran held victories over Hector Thompson, Ken Buchanan, Esteban DeJesus, the Viruet brothers and Sugar Ray Leonard. Ortiz defeated Len Mathews, Paolo Rossi, Dave Charnley, Kenny Lane, Dulio Loi, Flash Elorde, Sugar Ramos, Ismael Laguna, and drew with Nicolino Loche in Argentina (Loche’s hometown). 

 When I am asked to recommend a fight to watch on YouTube that would demonstrate the art of boxing at its best my answer is the third match between Carlos Ortiz and Ismael Laguna. It is like watching a class in brilliant boxing technique, especially as relates to effective use of the left jab, timing, and counter punching skills. Laguna was a fine boxer with extraordinary speed, but Ortiz was a master technician with all the answers.    

I had the honor of interviewing Carlos Ortiz in 1998. (This interview is included in Mike’s latest book “The Night The Referee Hit Back: Memorable Moments From The World Of Boxing”).  I have met and interviewed dozens of former world champions and top contenders. What impressed me about Ortiz was his intelligence, and I’m not just talking about boxing intelligence. Carlos, I am positive had a very high IQ, and could have succeeded in any profession he chose. But, thankfully for us, he chose boxing (or more correctly boxing chose him) and we fans are all the richer for it.

In his 70 fights Ortiz won 61 times with just 7 losses, 1 draw, and 1 no-decision. He scored 30 kayos.

My condolences to the Ortiz family, and to Carlos’s lovely wife Maria. Carlos Ortiz will be missed but never forgotten.

What Really Happened In The First Conn Vs Louis Fight

Joe Louis vs. Billy Conn

Polo Grounds June 18, 1941

What Really Happened?

By Bobby Franklin

(This article first appeared I the Boston Post Gazette and IBRO Journal In 2014)

Over my lifetime in boxing I
have heard the story of the first
Louis – Conn fight countless
times. Most followers of the Art
of Boxing are familiar with it.
Conn was boxing rings around
Joe Louis for twelve rounds and
leading on all the scorecards.
All he had to do was keep
dancing and jabbing and he
would win the fifteen round decision, but instead, the former light heavyweight champ got cocky in the thirteenth round and went for the knockout and ended up getting kayoed himself.

I recently noticed that ESPN Classic was going to show the fight and I began to realize, even though I was sure I knew just what happened during the match, that I had never seen more then some highlights from the bout. The memory I had of it was from what I had heard from boxing people throughout the years. I made some calls to a number of people well versed in the sport and asked each one how they believe the fight went, specifically, what punch did Conn rely on the most. With one exception, I was told that Conn had used his jab extensively and danced around Joe keeping himself at a safe distance from the champion’s power. It wasn’t until he decided to knock out Louis that he got close and Joe was able to end the fight. I also remembered a bit different version of the bout that was related to me by my trainer many years ago. I decided I was going to record the ESPN showing of the fight and see for myself how it went. They did show all the rounds, but many of them were not complete. Though I would like to see the fight in it’s entirety, I do believe I saw enough to understand Billy’s strategy against Louis.

It is also interesting to note that in his seven bouts against the big men [Conn] scored kayos in five of them.

A little background  first. Billy Conn was taken seriously as a challenger to Joe Louis. Conn had given up his light heavyweight title a year before in order to campaign full time as a heavyweight. He defeated a number of leading contenders including Bob Pastor (KO 13), Al McCoy (UD 10), Lee Savold (UD 12), and Gunnar Barland (TKO 8), so he had earned his chance at the championship. It is also interesting to note that in his seven bouts against the big men he scored kayos in five of them. That is almost half of the knockouts he scored in his entire career. Conn is not remembered as a big puncher, but he did show power against larger opponents. It was not because Conn had bulked up, as he did not. I would argue it was because the bigger opponents were slower and easier targets for his shots.

In the title fight Louis’ weight was announced as 199 1⁄2 (Joe worked hard to get below 200 for the weigh in as he didn’t want to seem to be a lot bigger then Billy). Conn came in officially at 174. It is believed by many that when they stepped into the ring their weights were 204 and 169 respectively. Giving Louis an advantage of over thirty pounds.

Now to the fight itself. Did Conn actually dance circles around Louis while sticking him with repeated jabs? No. Billy knew from the outset that it would be suicide to trade jabs with Joe, as the champion possessed the best left jab in heavyweight history. On top of this, Louis was also a genius at slipping and countering his opponent’s jab, and Joe had a great reach advantage over Conn. So, what was Conn to do?

Billy kept moving on his feet while feinting, but he didn’t stay that far away from the champion.Instead, he would move in and out. He would begin a jab, but then as Louis would start to counter it, Conn would turn it into a left hook, this is known as hooking off the jab. Billy would also get in close and throw left and right hooks to the body and head along with uppercuts, then he would tie up the champ. He was very fast and accurate, and he threw very few jabs throughout the fight.

Of course, during all of this Louis wasn’t just standing there. Joe was having a lot of trouble dealing with Billy, but he never lost his cool. The very hard punching champion was landing a lot of solid shots to Conn’s body. These punches began to take a toll in the later rounds as Billy’s legs began to weaken and he was losing strength. In the eighth round Conn shook Joe with a left hook. Billy had a very good round in the eleventh and shook his fist in the air after the bell rang as if to say, “The title will soon be mind”. Even though the eleventh round saw Conn landing solid blows on Joe, he was paying a price for it as Louis continued punishing him to the body.

Things became very interesting in the twelfth round. Conn came out on fire at the bell. His hands were still moving very fast, but his legs had slowed down just a bit. He continued mixing it up inside with Joe even staggering the champion a couple of times. On one of
these occasions as Joe was sent reeling, he threw his weight onto Billy. Billy pushed him off, but expended a lot of energy in doing so.

Billy’s knees buckled, and after the bell sounded he seemed disorientated and was confused as to where his corner was.

Now, and this is something you have to look very carefully to see because of the camera angle, just before the bell rang ending the round, Louis hit Conn with a very hard right hand. Billy’s knees buckled, and after the bell sounded he seemed disorientated and was confused as to where his corner was. His seconds seemed to notice this as they jumped into the ring and started splashing water on his face. This was the beginning of the end.

As the bell sounded for the fatal thirteenth round, Conn came out and tried to continue with his strategy of slipping inside and throwing hooks, but he was weaker now. He seemed to be going all out with what little he had left in him, but Joe could smell blood. Billy got off a couple of great combos, but then Joe went to work. He started connecting with uppercuts. Conn was hurt, and he was in with a guy who knew how to finish a fight. Louis ended the bout with a right uppercut and devastating left hook. Conn valiantly tried to get to his feet, but his legs would not respond. He had given it his all.

The narrative after the bout that has lived on is that Conn had the title and only had to dance around for the last three rounds in order to gain the decision. That instead, he got cocky and decided to slug with the champ. I believe Conn did not changed his tactics, that he had been worn down by Louis’ superior strength and body punches, and that he had no choice but to make a last stand and try to win by knockout.

It should also be noted that, while Conn was leading on the scorecards, he did not have the fight in the bag.

It should also be noted that, while Conn was leading on the scorecards, he did not have the fight in the bag. The scores through twelve were 5-7, 4-7-1 even, and 6-6. He had a good lead but Louis still could have won on points by taking the last three rounds.

None of this is meant to take anything away from Billy Conn. He fought a brilliant fight against a man considered by many to be the greatest heavyweight champion of all time. He showed guts, speed, power, and amazing skill, but Louis showed the patience that is the mark of a great champion and never lost his cool. This is a fight that should be studied by all boxing aficionados. It is one of the great fights of all time, and there is much to be learned by watching it.

 

Holly And The Hurricane

Carter Vs Mims

Learning While Fighting

By Bobby Franklin

Holly Mims

Recently, I watched the 1962 fight between Ruben Hurricane Carter and Holly Mims. The fight took place on December 22, 1962 at Madison Square Garden. It is a highly interesting bout to watch. In it you can see how Carter had to adapt from depending on his powerful punch in order to deal with the wily veteran Mims.

Carter’s original opponent for that night was Gomeo Brennan. Brennan pulled out the morning of the fight when he woke up with a head cold. A call was put in to Mims who lived in Washington, DC and he agreed to fill in for Brennan. He caught a flight to NY and by that evening was in the 

ring facing the hard punching Carter.

Mims was a savvy boxer and was always in shape. he had fought just a month earlier. However, stepping in with short notice against such strong opponent may not have seemed like a wise move. Of course, it could also be argued that in what was only his 16th bout Carter may have been smart to avoid such a ring wise veteran as Mims who could make him look bad even if Carter won. It actually proved to be a good move on Ruben’s part even though Holly gave him all he could handle.

Ruben Hurricane Carter

Two months earlier Carter had destroyed Florentino Fernandez in the first round with a devastating knock out. Carter had raw power and a solid chin, but was he beginning to rely too much on that power to score victories? That is the curse of the heavy hitters. They get lazy when it comes to learning the finer points of the game. The list of promising superstar punchers who never quite made it because of this lack of learning is a long one.

This is where the Mims fight showed a lot about Carter. Ruben was the favorite going into the match. The odds were large in his favor probably due to the fact that Mims only had a few hours notice before taking the fight. Holly had 82 fights at that point in his career and had never been stopped. Ruben was in only his 16th fight. Eleven of Carter’s victories were by kayo with the Fernandez stoppage putting him on the fistic map.

Mims came into the fight with 59 wins, 23 losses, and 6 draws. He had been fighting since 1948 and had faced the likes of Joey Giardello, Rocky Castellani, Spider Webb, George Benton, and Henry Hank. 

Holly Mims (Left) Blocks A Right By Ruben Carter

When the bell rang in the Garden that night Carter came out in explosive fashion. Memories of his destruction of Fernandez were still fresh in his mind, and he probably felt he could repeat what he did that night. He did hurt Mims, and for a moment it looked as if he would score an early kayo. However, Mims was no Fernandez. He was a complete fighter who knew how to handle any situation in the ring. When hurt, he knew how to cover up, how to hold, how to fight back and let his opponent know he’d better not get too wild or he will pay a price. 

Carter was not able to pull off a first round victory, but he kept the attack up in the second round. By now Mims was figuring Ruben out and was hitting him with beautiful jabs from a distance, and when Carter would get within power punch range, Holly would move in close where he was the superior in-fighter. 

In the fourth round Mims dropped Carter with a left hook right hand combination  near the ropes. Carter was up immediately, but he had been shaken. He didn’t see this coming and you can see by his face he was recalculating his strategy. At the end of the round he tapped Mims on the shoulder in a sign of respect for the veteran.

Carter (Left) Nad Mims Mix It Up Inside

Starting in round five Carter showed he was more than just a powerful puncher. He had the mind of a good boxer. He came out shortening up his shots. He had been made to pay for swinging too widely, but what differentiated him from so many other punchers, he was able to adapt mid-fight. It turns out he had more than a punch, he had the mind of a good boxer. Sure, Mims was still frustrating him, but he didn’t allow that to discourage him as so many others would have. 

Watching this fight is a pleasure for a couple of reasons. First, you get to see the brilliant boxing of Holly Mims. He is amazing in the ring. The term “educated left hand” could have been coined just for him. He was the consummate counter-puncher, could fight in close and at long range with equal skill, and was very difficult to hit with a solid blow.

With Carter you see a young fighter developing right before your eyes. After he was dropped in the 4th round he could have let his frustration take hold and he would have lost. Instead, he realized he had to do something different, and he did even if that meant having to give up on scoring a knockout. 

Ten rounds in the ring with Holly Mims was like going to boxing graduate school for Carter.

Ruben Carter won a unanimous decision that night, one he worked hard for. Even if he had lost the fight to Mims it would have been worth it for what he learned that night. Ten rounds in the ring with Holly Mims was like going to boxing graduate school for Carter. He came out of that fight a much better fighter than he was going in. 

In 102 career fights Holly Mims was only stopped once, and that was on cuts and near the end of his career. In 40 fights Carter was also stopped only once, and that was also on cuts. Mims was not known as a puncher having only scored 13 knockouts in his career. Carter will always be remembered as a knockout artist having scored 19 knockouts in his 27 victories. Both will be remembered as being fighters who were next to impossible to kayo.

Watch the Mims/Carter fight, then watch it again. It is a very interesting fight and you will not only be entertained by it, you will learn a lot from it.
https://youtu.be/igQ_GRObjvk

Jerry Quarry Vs George Foreman

Remembering Jerry Quarry
How Would He Have Fared Against
George Foreman?

By Bobby Franklin

Jerry Quarry

Jerry Quarry would have turned 77 years old this year. Unfortunately, the ravages of too long a career in the ring led to Jerry developing severe dementia and he passed away at the early age of 53 in 1999. Though what happened to him is not uncommon, it is still tragic to think of just how badly he ended up. There are a lot of what ifs in Jerry’s life, but the biggest one is what if he had retired much earlier and followed a promising career as a boxing commentator? He excelled at the job with his keen insight, pleasant demeanor, and articulate use of language. Make no mistake, Jerry Quarry was as talented outside of the ring as he was in the squared circle.

When looking at his record you see an outstanding career. He had a total of 66 fights over 23 years against the best in the heavyweight division. He first retired in 1975 after being stopped by Ken Norton. Two years later he made a comeback but clearly was only a shell of his former self. After three wins in which he looked terrible he wisely hung up the gloves again.

In 1992, 9 years later, while showing signs of advanced dementia, he was talked into having another fight. It is sickening to watch the film of this fight in which he took on Ron Cramer, a fighter with a 3/4/1 record. It would be Jerry’s last fight and that bout tells all anyone needs to knows about the slime that infest boxing.

Quarry Stopping Earnie Shavers

Out of his 66 fights Quarry lost only 9 time. The ugly loss to Cramer should not even be counted. Of the other 8 defeats, two were at the hands of Muhammad Ali and two by Joe Frazier. Ken Norton, Jimmy Ellis, George Chuvalo, and Eddie Machen were the only other men to defeat Jerry.

The Chuvalo loss was, to stay the least, odd. Machen beat him when he was on the way up and that was a story of experience over youth. I recently wrote about the Ellis fight. Jerry was at the end of his A game against Norton.

Jerry Outboxing Ron Lyle

So much for the losses. His victories were exciting and outstanding. After the Machen fight he improved and beat Brian London and Alex Miteff. He then went on to fight a draw with former Champion Floyd Patterson. This is the fight that caused people to take a closer look at the young heavyweight from Bakersfield, California. The Patterson fight earned him a spot in the WBA Tournament to find a successor to Muhammad Ali. There he was matched once again against Patterson whom he defeated.

Next he stopped Thad Spencer and then had the disappointing decision loss to Jimmy Ellis. Jerry came back from that loss to score five straight wins culminating in a victory over Buster Mathis. That earned him a shot at Joe Frazier for the undisputed heavyweight title in 1969. Joe was just too much for a very courageous Quarry who was stopped in the 7th round. He would lose a rematch with Frazier in 1974.

Frazier and Muhammad Ali were two hurdles Jerry could never get over, but he did show outstanding ability when matched up against the most ferocious punchers of the era.

Quarry Victoius Over Mac Foster

In 1970 he took on undefeated Mac Foster who had kayoed all 24 of his opponents. Jerry dismantled the hard punching Foster in six rounds. In 1971 he took on undefeated Ron Lyle who had knocked out 17 of his 19 opponents. And that same year he completely obliterated Earnie Shavers in one round. Shavers had kayoed all but one of the 45 men he had defeated.

Based on the Shavers, Lyle, and Foster fights it has to be asked how Jerry would have done against an up and coming George Foreman? Word was that the Foreman camp wanted nothing to do with Quarry. His outstanding chin and excellent counter punching which he used so well against the other big punchers would have proved a serious problem for George. I believe he had the movement and power to beat Foreman and I think it would have looked similar to the Mac Foster fight where Jerry methodically took his opponent apart.

It’s a shame that fight never took place. My money would have been on Quarry. Next to Frazier and Ali, he was arguably the best heavyweight of the early 1970s. When you remember Jerry Quarry remember him for the great boxer he was. He was a credit to the sport, though boxing never returned the favor to him.


https://youtu.be/KfRAplpv-j0

Unanswered Questions Surround Death Of Woman At Ogunquit Beach

This article is from the September 2, 2022 issue of the Boston Post Gazette

By Bobby Franklin

Entrance To Main Beach In Ogunquit

On August 15th a woman was pulled from the water at Ogunquit Beach and after resuscitation efforts were performed she was pronounced dead. The woman has been identified as 62 year old Margaret Kelley from Harwinton, Connecticut.

The events that led to her death remain unclear. The situation happened at high tide in the water near the ramp leading down to the main beach. There is a lifeguard stand at that location.The cause of death hasn’t been disclosed awaiting a report from the Medical Examiner’s Office. Her body is still in Maine. The Ogunquit Fire Department issued a press release about the incident that stated:

“At approximately 3:00 PM on August 15, 2022, a patron visiting our beach had what is described as a medical event while in the water. The 62-year-old Connecticut woman was quickly removed from the water by lifeguards and by-standers.  Resuscitation efforts were initiated by our lifeguard and EMS staff. Ogunquit Fire and Ogunquit Police Departments responded immediately to assist. Unfortunately, despite the efforts of the emergency responders the patron did not survive. The event remains under investigation by the Ogunquit Police Department and no further information is available at this time.”

I spoke with Chief Osgood of the Ogunquit Fire Department to try to get clarification of what happened that day. Chief Osgood is also head of the Ocean Rescue Team. He told me he arrived about 30 minutes after the initial call. He said he believed the description of the woman having a medical event came from her husband who was on the beach while his wife was in the water. He added it appeared she had become dizzy and was making her way to the shore. Chief Osgood said lifeguards immediately responded when they heard the commotion and pulled the woman from the water and performed CPR.

A woman who was on the beach at the time wrote “Her husband pulled her from the water…she was under for a while”. Another person who was there told me “It was her husband who had to pull her out when he realized she had gone under. He and bystanders pulled her to the edge of the water…they rolled her on her side and began CPR. By then lifeguards were watching, not participating. A nurse who happened to be nearby asked the lifeguards if she had a pulse. They said they didn’t know”.

These accounts differ from those of the Fire Department. I asked Chief Osgood if the lifeguards had written a report about the event. He said they had. I asked what was in it and he said he couldn’t remember. I asked for the names of the lifeguards who went in to pull the woman out. He didn’t know offhand. I asked for the name of the bystander who initiated CPR. He didn’t know. When I asked what the medical event was he said he couldn’t disclose that due to medical privacy issues. He said he would look at the lifeguard report and get back to me if there was information in it he could share. I also requested a copy of the report.

Earlier I spoke with Police Captain John Lazanecz of the Ogunquit Police Department. The police department is conducting the investigation into the tragedy. He gave me the name of the woman who died but didn’t have much more information to share. He said they were waiting for the Medical Examiner’s report. He did not know if an autopsy was being performed, and said the Examiner’s Office is backed up with cases. 

In response to a question about when the results of the investigation would be released, Ogunquit Select Board member Heath Ouellette said he was told the police were waiting on the results of an autopsy and that could take up to two months. Captian Lazanecz told me he didn’t know if an autopsy was being performed.

There is much that remains to be learned about the terrible event that occurred on August 15th. It is still not known for certain the role of the lifeguards in aiding the woman (she is referred to by the OFD as a patron of the beach). There are conflicting accounts of what happened that day. Neither the Fire Chief nor the Police Chief were there when it happened. The people who were there tell a different story of what occurred. When witnessing a traumatic event such as this it is not unusual for people to become confused about what they saw. That it is why it is so important for a thorough investigation to take place and be made public. 

My heart goes out to the family of Margaret Kelley. Not having closure must be terribly painful. Margaret Kelley was more than a “patron of Ogunquit Beach”. She was a human being who tragically lost her life that day. 

I will be following up this story as I learn more.

Foul Play in Philly?

By Mike Silver

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On September 23, 1952, in Philadelphia’s Municipal Stadium, Jersey Joe Walcott defended his heavyweight crown against challenger Rocky Marciano. During the seventh round of a thrilling fight a caustic substance got into Marciano’s eyes. He returned to his corner blinking and squinting. “There’s something in my eyes, they’re burning.” Freddie Brown, one of the best corner men in the business, sponged Rocky’s eyes with copious amounts of water, giving the challenger some relief. But the burning began again in the eighth round. At the bell Rocky returned to his corner in obvious distress, telling his trainer Charley Goldman, “My eyes are getting worse. Do something, I can’t see.” Goldman and Freddie Brown continued to douse his eyes. Al Weill, Marciano’s volatile manager, was beside himself. Leaving the corner he approached referee Charley Daggert and pleaded with him to investigate Walcott’s gloves and shoulders. The referee waived him back to the corner.

If there was something illegal going on in Walcott’s corner Weill’s complaining must have gotten someone’s attention because by the end of the 10th round Rocky’s eyes have cleared and his vision returned to normal.

After 12 brutal rounds Walcott was ahead in the scoring. Unless Rocky can win by a knockout he will lose the decision. Less than a minute into the 13th round Marciano connects with a devastating right cross to Walcott’s chin and one of the greatest heavyweight title fights of all time comes to a sudden and dramatic ending.

The kinescope of the closed circuit telecast lends credence to the belief that Walcott’s gloves were doctored.

Was there foul play in Philly? The kinescope of the closed circuit telecast lends credence to the belief that Walcott’s gloves were doctored. At the end of the sixth round the camera shifts to Walcott’s corner and if you watch closely you can see Felix Bocchiccio, Walcott’s manager, rubbing Walcott’s left and right gloves as if he is applying something. Was this just a nervous reaction? I think not. The action looks too deliberate. After the eighth round the camera again follows Walcott to his corner. As soon as he sits down we see Bocchiccio leaning through the ropes and he again rubs Walcott’s right glove for at least six seconds in a circular motion before the camera moves over to Rocky’s corner. (My personal kinescope copy clearly shows this but for some reason it has been cut from the version available on YouTube). Just before the bell rings to begin the ninth round the camera moves back to Walcott’s corner and we again see his manager quickly rub Walcott’s gloves and then wipe his hands on the fighter’s stomach and trunks, as if trying to remove something. This part is included on the current YouTube version. Could the substance just be Vaseline? It’s doubtful. There is no reason to apply Vaseline to a fighter’s gloves in the midst of a fight.

Rocky never believed Walcott was aware of anything illegal going on in his corner. “He was too wrapped up in the fight (to notice),”

Rocky Marciano always believed that Jersey Joe’s manager had rubbed a hot, irritant salve—perhaps a capsicum ointment—on Walcott’s gloves and upper body. Rocky had good reason to suspect foul play. Felix Bocchicchio had resurrected Jersey Joe’s career and put him on the road to the championship, but he was also a well-known gambler and an organized crime figure in Philadelphia and New Jersey with a rap sheet dating back to 1925.  Rocky never believed Walcott was aware of anything illegal going on in his corner. “He was too wrapped up in the fight (to notice),” Marciano said. “He was too great a champ to go along with something like that. They wouldn’t tell him. But somebody did it, because I know what was happening to my eyes.” Peter Marciano, Rocky’s brother: “Rocky believed he was blinded intentionally until the day he died. He spoke of it often.” After he retired as undefeated champion Rocky accused Bocchicchio of rubbing the substance on Walcott’s gloves and upper body in a story published in the Saturday Evening Post in October 1956. Walcott’s manager sued for libel. A Pennsylvania jury believed the allegations and found in favor of the Post.

In Liston’s corner his principal seconds are two men whose home base just happens to be the City of Brotherly Love.

Now let’s jump ahead to February 25, 1964.  The scene is the Miami Beach Auditorium. Cassius Clay, a 7 to 1 underdog, is about to challenge heavyweight champion Sonny Liston. It’s not Philadelphia, but it might as well be. In Liston’s corner his principal seconds are two men whose home base just happens to be the City of Brotherly Love: Joe Polino, a well-known trainer and corner man, and former heavyweight contender Willie Reddish, Sonny’s chief trainer.

As the fourth round came to a close it was apparent that the odds did not reflect what was taking place in the ring. The challenger appeared quite capable of pulling off a huge upset. But near the end of the round Clay looked pained and began to blink furiously. He returned to his corner in an agitated state. “Cut the gloves off!” screamed young Cassius whose eyes felt like they were burning up. A caustic substance of unknown origin had somehow gotten into Clay’s eyes just as he seemed to be taking charge of the fight. The very capable and experienced Angelo Dundee, Clay’s trainer and chief second, kept a cool head. He sponged the stricken fighter’s eyes in an attempt to wash away whatever was causing the problem. At the bell to begin the fifth round Clay was still complaining. “I can’t see. We’re going home.” “No way” answered Dundee. “Get in there and fight. If you can’t see, keep away from him until your eyes clear. This is the big one. Nobody walks away from the heavyweight championship.” Dundee shoved him out of the corner.

Even though he was fighting half blind Clay incredibly was able to survive the round despite Liston’s best efforts to render him unconscious. Swaying and shifting like an Indian rubber man Clay instinctively avoided most of Liston’s punches. It was an amazing display by an extraordinarily talented 22-year-old athlete.

In the following round, with his vision improved, Clay dominated Liston, landing dozens of unanswered punches. The exhausted and demoralized champion returned to his corner at the end of the sixth round a tired and beaten fighter. Claiming an injured shoulder he told his seconds he could not go on. Cassius Clay—soon to be renamed Muhammad Ali—became the 22nd heavyweight champion of the world.

There is strong reason to believe that someone in Liston’s corner tried the same illegal methods used in the Marciano-Walcott fight to influence the outcome…

Conclusion: There is strong reason to believe that someone in Liston’s corner tried the same illegal methods used in the Marciano-Walcott fight to influence the outcome by temporarily blinding Clay. When asked his opinion Angelo Dundee, ever the diplomat, said that a substance used to treat Liston’s cut under his eye must have accidentally gotten into Clay’s eyes. But couldn’t it have gotten into Liston’s eyes as well, and why would anyone choose to treat an eye cut with a caustic substance in the first place?

Eddie Machen told reporters, “The same thing happened to me when I fought Liston in 1960.

Two days after the fight heavyweight contender Eddie Machen told reporters, “The same thing happened to me when I fought Liston in 1960. I thought my eyes would burn out of my head, and Liston seemed to know it would happen.” He theorized that Liston’s handlers would rub medication on his shoulders, which would then be transferred to his opponent’s forehead during clinches and drip into the eyes. “Clay did the worst thing when he started screaming and let Liston know it had worked,” said Machen. “Clay panicked. I didn’t do that. I’m more of a seasoned pro, and I hid it from Liston.”

Years later Joe Polino, Liston’s assistant trainer, told Philadelphia Daily News reporter Jack McKinney what actually happened.

According to Polino, in between the third and fourth rounds, Sonny had told him to “juice the gloves.” Polino said they were always ready to do that if Sonny was in real danger of losing. He admitted they had done it in Liston’s fights with Eddie Machen and Cleveland Williams. He said it was a stinging solution but did not specify what was in it.

According to McKinney, “Polino told me that he put the stuff on the gloves at Sonny’s express instructions and then threw the stuff under the ring apron as far as he could.” McKinney also added, “Joe himself felt so conflicted over this. He’d been sucked into it, but he knew if he ever came clean he would never work again.”

…both Walcott and Liston were handled by Philadelphia boxing people.

In each of the above scenarios the heavyweight champion of the world was facing defeat. It appears that desperate and illegal measures were taken by someone in the champion’s corner to influence the outcome. The other common denominator is that both Walcott and Liston were handled by Philadelphia boxing people. Philadelphia was home base for Blinky Palermo, the notorious fight fixer and longtime godfather of the city’s boxing scene. Blinky operated freely in Philly but was banned in New York State. This is not to say that he was involved in either incident (in fact he was in jail in 1964) just that Philadelphia was no stranger to boxing scandal considering who had been in charge for many years. Fight fans with long memories remember the notorious incident involving Harold Johnson, who claimed he was drugged after someone had given him a “poisoned orange” just before he stepped into a Philadelphia ring to face Cuban heavyweight Julio Mederos in 1955. Johnson, the betting favorite, was stopped in the second round. Professional boxing was suspended in Philadelphia for six months following the incident.

Perhaps because Marciano defeated Walcott to win the title the matter was not pursued by Weill or anyone else. There was no investigation by Pennsylvania boxing officials into the possibility that Walcott’s gloves were doctored. Florida officials were even more lax in the aftermath of the Clay-Liston bout. Florida didn’t even have a state boxing commission. Instead, local municipalities (in this case Miami Beach) ran the show. The only investigation that took place concerned the veracity of Liston’s claim that he injured his shoulder, which may have been bogus or exaggerated, but could not be proven.

The nefarious attempts to alter the course of boxing history failed…

Both Rocky Marciano and the fighter then known as Cassius Clay were destined for greatness. The nefarious attempts to alter the course of boxing history failed because Clay’s amazing speed, reflexes and uncanny athletic instincts enabled him to survive the fifth round. The attempt to foil Marciano was also unsuccessful because of the Rock’s almost super human toughness and determination. For three full rounds Marciano could barely see the target in front of him yet he kept attacking in his relentless way, bringing the fight to Walcott despite taking punches that would have stopped most heavyweights in their tracks. On that night it would have taken more than the two fists of a mortal being, let alone a “caustic solution”, to defeat the indestructible “Brockton Blockbuster.”

Article is excerpted from “The Night the Referee Hit Back: Memorable Moments from the World of Boxing” by Mike Silver (Rowman & Littlefield Publishers, 2020).

Bill Irwin In “On Beckett” At The Paramount Center In Boston

ARTSEMERSON PROUDLY PRESENTS 

ON BECKETT 

WRITTEN AND PERFORMED BY TONY AWARD-WINNING ACTOR 

BILL IRWIN

ROBERT J. ORCHARD STAGE

SIX PERFORMANCES ONLY

Paramount Center
OCTOBER 26 – 30, 2022

ArtsEmerson, Boston’s leading presenter of contemporary world theater and film and the professional presenting and producing organization of Emerson College, is excited to welcome Tony Award-winning actor and master clown Bill Irwin to Boston for his solo stage piece On Beckett which will run six performances only from October 26 – 30, 2022 at the Emerson Paramount Center Robert J. Orchard Stage. In On Beckett, Irwin explores a performer’s relationship to the works of legendary playwright Samuel Beckett—widely regarded as one of the greatest dramatists of the 20th century— incorporating passages from various works by the Irish writer, including Texts for Nothing, The Unnamable, Watt and Waiting for Godot. On Beckett is produced by Octopus Theatricals and premiered at Irish Repertory Theatre in New York City on October 3, 2018. 

Irwin’s physical approach to the comic and tragic sides of Beckett’s writing invites audiences to experience the writer’s language as they never have before in this fun, surprising trek through the works of Beckett. Bill Irwin’s original stage works include The Regard of Flight, The Happiness Lecture, and Old Hats. He won Broadway’s Best Actor Tony Award for Who’s Afraid of Virginia Woolf, and picked up a second statue for Fool Moon (created with David Shiner) which earned four Tony nominations. His many television credits include Elmo’s World (as Mr. Noodle) and Legion (Mr. Loudermilk), and his film credits range from Rachel Getting Married to The Grinch Who Stole Christmas.“On Beckett is an invite — it’s a personal invitation — to deep dive into the writing of a man whose work I love AND hate — Mr. Samuel Beckett,” explains Bill Irwin. “I think On Beckett is a good first entry to the wild and beautiful content that is Mr. Beckett’s writing — and it speaks also to those of us who read and re-visit the language often. It’s an actor’s — and it’s a clown’s — look at a great writer’s language. I look forward to bringing my take on Mr. Beckett’s writing to Boston.” 

Tickets for On Beckett performances go on sale on Sunday, September 11, 2022 and may be purchased 24/7 at ArtsEmerson.org, or by calling 617-824-8400 (Tue-Sat from 12:00PM ET – 6:00PM ET). The Paramount Center Box Office (559 Washington Street, Boston) is open for walk-up service Thu-Sat from Noon – 6:00 PM ET. 

Performance Schedule: 

Wednesday, October 26, 2022 7:30 P.M.

Thursday, October 27, 2022 7:30 P.M.

Friday, October 28, 2022 8:00 P.M. 

Saturday, October 29, 2022 2:00 P.M. and 8:00 P.M.

 Sunday, October 30, 2022 2:00 P.M.

Jimmy Young: The Most Underrated Heavyweight Of The 1970s

By Bobby Franklin

Jimmy Young

The 1970s are remembered as one of the most exciting eras in heavyweight boxing history. Earnie Shavers, George Foreman, and Ron Lyle all had explosive power. While some credit Foreman as an all-time great based on his brutal knockout of Joe Frazier,his fight with Lyle is often called one of the best heavyweight bouts that ever took place. It was an exciting fight, with both boxers tasting the canvas before Big George scored a knockout over Ron.

Earnie Shavers’s reputation rests on his one-round kayos of Ken Norton and Jimmy Ellis and even more so on two fights he lost. Those losses were his fifteen-round fight with Ali, where he rocked the aging champ time and again, and his second fight with Larry Holmes for the world title. Before Larry was champ, he had lost a one-sided decision to Holmes in 1978. His win over Norton landed him a shot at Champion Holmes in 1979.

Their second fight appeared to be a repeat of their first encounter until the 7th round when Earnie hit Holmes with a devastating right hand that put the champion down flat on his back. Holmes survived the round and went on to stop Shavers in the 11th round. Larry won every round other than the 7th.

The fights I mentioned above are all still widely discussed and repeatedly viewed on YouTube. There is nothing like the big punchers to get a fight fan’s adrenalin pumping. However, being a big puncher by itself does not make someone a great fighter. There is more to boxing than just having power. This is proven by another contender from the 1970s who has slipped from view as time has passed; Jimmy Young.

Young On The Offensive Against Ali

Jimmy Young was a savvy boxer out of Philadelphia who became well known when he challenged Muhammad Ali for the title in 1976 in a nationally televised fight. He wasn’t given much of a chance against the champion but surprised the public when he gave Ali more than he could handle over 15 rounds, losing a hotly contested decision.

Most people don’t recall that Young took on both Lyle and Shavers before facing Ali. In 1973 Young was stopped in three rounds by Earnie, but the two fought again a year later, with the bout being ruled a draw even though just about everyone but the judges saw it as a clear victory for Young.

Young Forces The Action Against Lyle

Two months later, Jimmy stepped into the ring as an underdog against Ron Lyle. After ten rounds, Young was given a one-sided decision, having easily outboxed Lyle. The two would fight again in 1976, with Young once again clearly defeating Lyle.

It should be remembered that both Lyle and Shavers fought Young before they faced Ali, so they were far from washed up and were able to give The Greatest a couple of his toughest fights. Nevertheless, Young certainly fared better and took less punishment from these big punchers than Ali did.

And let’s not forget Jimmy Young’s fight against the man who was not only rated the hardest puncher of the 1970s and, by many, the hardest puncher of all time, George Foreman.

Big George appeared unbeatable after his destruction of Joe Frazier in 1973. He followed this up with a one-round kayo of Joe Roman and a second-round demolition of Ken Norton in 1974. He then lost the title to Ali later that year. While the loss tarnished his reputation, he was still looked upon as a feared puncher, and his bout against Ron Lyle in 1976 saw the fireworks fly between the two power punchers.

Young Decks Foreman

Foreman would continue on with a second knockout win over Joe Frazier and kayos over Scott LeDoux, John Dennis, and Pedro Agosto before facing Jimmy Young in 1977 in a fight in San Juan, Puerto Rico. Once again, the light-punching Young was given very little chance of beating the big guns, and once again, Jimmy proved his critics wrong. Jimmy out-boxed Big George and dropped the former champion in the final round of the fight. The win was decisive enough that Foreman retired after it.

Ali Vs Young

So, here we have the man considered to be the lightest punching heavyweight of the 70s with three wins and a draw that he deserved to win against the biggest punchers of the era. Throw in the fact that he lost a hotly disputed decision to Ken Norton as well as the contested loss to Ali, and you are looking at a fighter with arguably the best record against the top fighters of the 1970s and certainly against the big punchers. Remember, Lyle was kayoed by Foreman, Shavers was kayoed by Lyle, Foreman kayoed Norton, and Ali kayoed Foreman. Young, with the exception of his first loss to Shavers, in what was only Young’s 10th fight as opposed to Shaver’s 44th, and you have a man who did better against each of these men than they did against one another with the exception of Ali vs. Foreman. And, if the judges had been seeing more clearly, they would have had the wins against Norton and Ali. It’s also notable that Ali would never again fight Jimmy.

It’s interesting to note that had things gone just a slight bit differently, and if Jimmy Young had not been handled by the mob (that’s another story worth telling), he might be the man remembered as the best fighter of the 1970s, while also the lightest punching one.

Carter Vs Griffith: Spectacular First Round Kayo But Was It Within The Rules

By Bobby Franklin

Emile Griffith

On December 20, 1963 Emile Griffith and Ruben Hurricane Carter stepped into the ring to face each other at the Civic Center in Pittsburgh, Pennsylvania. Griffith was the reigning welterweight champion who was  campaigning as a middleweight seeking a title shot. Carter was ranked number two in the middleweight division. A win by either man would be a big step towards getting a shot at champion Joey Giardello.

At the time of the fight Griffith had won seven out of nine against middleweights including wins over Denny Moyer, Yama Bahama, Don Fullmer, and Holly Mims.

Carter had twenty-one fights at this point in his career with four losses and seventeen wins. He had scored 11 kayos including a one round devastation of Florentino Fernandez. In his last fight before facing Griffith he lost a very close split decision to Joey Archer.

The fight in Pittsburgh didn’t last long and the ending was quite a surprise. After Griffith had been dropped to the canvas twice in the first round referee Buck McTiernan stopped the contest and raised Carter’s hand. The stoppage was a good call as Emile was clearly unsteady and could have been seriously hurt had the fight continued.

I have watched the Griffith/Carter fight over and over again as it was a shock to see Emile Griffith taken out so fast. It has to be remembered that on top of having not been stopped previous to this match, he also went to the end of his career with only one other kayo loss. That happened in 1971 against middleweight champion Carlos Monzon. Griffith had not been off his feet in that fight, but rather was stopped when he was caught in a corner and unable to respond to Monzon’s barrage of punches. In a career consisting of 112 fights, Monzon and Carter were the only two men to defeat Griffith via a stoppage. 

Rubin Hurricane Carter

I have always believed the kayo by Carter was a fluke and that if the two had met a dozen times it would never happen again. So, how did Carter do it. Well, his devastating left hook was, of course, the major factor. Rubin could hit and hit hard. He was a good boxer, but did have flaws. Those flaws, such as throwing his punches a bit too wide should have enabled Emile to avoid getting tagged so seriously. Emile was a master boxer/puncher. Of course, no matter how good a fighter is, if he gets caught with a punch from the likes of a Hurricane Carter it can be lights out.

Recently, I was talking with Mike Silver boxing historian and author of The Arc Of Boxing about this fight. Mike pointed out something very interesting  that might explain how Carter was able to land the left hook that put Griffith down for his first trip to the canvas, a punch he never recovered from. I rewatched the bout after my conversation with Mike and I believe he is onto something.

Here’s what happened in the fight. Griffith weighed 151 1/2 pounds while Carter came in at 157. Griffith was above his welterweight fighting weight while Carter was around his usual poundage.

Before the fight started the referee called the two men to the center of the ring for a final few words on the rules. Among his instructions were “I insist on a clean break”. When you watch the fight remember those words.

At the bell, the men came out of their corners and the action was lively. They traded quite a bit of leather over the first minute with each giving as good as he got. In the first clinch of the fight referee McTiernan called for the men to break, and they both stepped back, obeying his instruction, before resuming boxing. 

A short while later the two again were exchanging punches with Carter landing a good left hook to the midsection of Griffith. a couple of seconds later they fell into another clinch. This is where Mike Silver’s shrewd observation comes into play. As with the first clinch, the referee calls for the men to break. Griffith steps back, but Carter, instead of stepping back, immediately jumps in with the left hook that floors Griffith. It is a powerful shot landing on Emile’s chin. 

Griffith hit the canvas and got onto his knees while taking a nine count. When he arose he was wobbly and was dropped again. It was at this point the referee stopped the bout. It was all over at 2:13 of the first round. 

Griffith On The Ropes Against Carter

Mike Silver makes the point that the blow landed by Carter was thrown and landed on the break when, by the rules, he should have stepped back before starting to fight again. I have watched this over and over and agree with Mike. It was basically a sucker punch and illegal. Did Carter do it on purpose? I think he did. Should he have been disqualified for it. Well, that’s a tough question to answer as it happened so quickly the fans would have certainly been in an uproar as most wouldn’t have seen what took place. Also, the old adage that a fighter must protect himself at all times would have been cited. But that adage doesn’t apply to illegal blows that occur when the referee’s instructions are not obeyed. 

Remember, just a few months earlier Carter had lost a close decision to the very slick boxing Joey Archer. In that fight he was not able to land a knock blow on the elusive Archer. Ruben might have gotten it into his head that he had to pounce at any opportunity to get in a power shot on a smooth boxer such as Griffith, and not leave it up to the judges as happened with Archer. He saw his chance when the fighters broke from their first clinch. The referee did not step between them as some do, but rather trusted them to break cleanly on their own. The second clinch is where Carter took advantage of this chance to play by his own rules. 

The two never fought again, but I am sure if they did Emile would have been very careful coming out of the clinches. The fight was a major win for Carter and led to him getting a shot at the crown a year later. In his title challenge he lost a fifteen round unanimous decision to Joey Giardello. Ruben put up a great fight and bruised the champion but could not land the power shot to end the fight. 

Take a look at the Griffith vs Carter on Youtube. You have to watch closely, but if you do I believe you will see what I’m talking about. After the clinch before the knockdown you will see Carter pounce right on Emile without having stepped back as he was supposed to do. He did not break cleanly and that is how he scored the knockout. He never stepped back, and that is how he landed the punch that won him the fight. 

John Henry Lewis: Forgotten Great

By Bobby Franklin

John Henry Lewis

It has long been talked about how many great fighters never got a chance at a title. Many agree that if people like Charlie Burley and Holman Williams got the breaks they deserved in boxing, history might very well be different. For many years the fighters who became known as The Black Murderers’ Row lived in obscurity. However, in recent years they have been receiving their due. Thanks to the work of writers like Springs Toledo whose epic book Murderers’ Row: In Search Of Boxing’s Greatest Outcasts did so much to educate the public about these forgotten men, their names are now much more familiar to the boxing public.

It’s interesting to note that it is not only those who never got a shot at the top who have been forgotten, but there are also great fighters who did win and defended titles that have faded from memory. One reason for this is there were so many great fighters back in the 1920s and 1930s that some overshadowed others. Benny Leonard, Joe Louis, Barney Ross, and a host of others gained legendary status and have become almost immortalized, with countless articles and a number of books written about them. They deserve all the praise they get. Others have slipped from view though.

Joe Louis And John Henry Lewis

One of these was Light Heavyweight Champion John Henry Lewis. Up until recently I wasn’t able to find many photographs of the former champ. While I was familiar with his name it was mostly for the same reason most people would have heard of him; He was kayoed in one round when he challenged Joe Louis for the Heavyweight Title. It was John Henry’s last fight and he was almost blind in one eye. The story goes that Joe Louis gave him a shot as the two were friends and he wanted him to have one big payday before the boxing commissions took his license from him. It has also been said that Joe the Champ dispatched him early to spare him taking too many punches. In fact, John Henry was quoted later saying  “…that was really the easiest fight I was ever in. I went to sleep early and easy.”

The loss to the great Joe Louis should not define John Henry’s career. While no footage exists of his fights, except for a 15-second clip of the Louis fight, Lewis certainly deserves to be mentioned when the greatest light heavyweights of all time are discussed. The International Boxing Research Organization (IBRO) listed John Henry as the 15th greatest light-heavyweight in their All-Time Ratings on December 31, 2019.

Lewis had a total of 117 fights of which he won 101 with 57 by knockout. He lost 11 times and Joe Louis was the only man to stop him. He also had five draws. On the way up he fought Light Heavyweight Champion Maxie Rosenbloom five times, winning two and losing three. In their third fight Lewis dropped Rosenbloom five times. That was something that did not happen to Maxie. It is interesting to note what Lewis said about his bouts with Rosenbloom: “Maxie and I fought five times, and each time I learned something new. He was the craziest and trickiest fighter you ever saw. Of course I had learnt a lot from my father and those old time fighters, but fighting with Maxie was like going to college.”

In the era in which John Henry fought, it was no shame to lose a fight. The important thing was to learn from your losses, and having fifty rounds with Maxie Rosenbloom truly was like going for a Phd in boxing. The things he picked up in those fights are what contributed to him becoming a great champion.

Lewis’s father had also been a fighter and owned a boxing gym in their hometown of Phoenix. Arizona. It was there at an early age that John Henry and his brother got to meet old-timers like Sam Langford and Eddie Anderson. He said “…they taught us some tricks like jabbing and footwork.” That knowledge stayed with him and was instrumental in him later developing into a savvy and complete boxer.

John Henry was close to his father who not only taught him boxing but instilled in him the importance of dressing and behaving like a gentleman. Looking at a photo of the two of them together you can tell these are two classy gents. Lewis retained his gentlemanly demeanor even when he was signed to fight Two Ton Tony Galento, a fighter not known for being careful with his words. When Tony pulled out of the match due to having contracted pneumonia, a disappointed Lewis visited him in the hospital. The fight was never rescheduled.

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John Edward Lewis’ philosophy on life was summed up succinctly in the aftermath of the Louis-Lewis fight when Joe Louis went to John Henry’s dressing room and spoke to him and his dad. John Henry’s dad stared in awe at Joe and then said. “You are a great man, Joe. I’m honored to shake your hand.” Louis blushed, “I’m sorry what happened to John, but we both made some money, and after all, that’s what counts in the long run.” “No,” John Henry’s father broke in. “Money isn’t what counts in the long run, as you will learn when you are as old as I am. Human dignity and mutual respect for your fellow man count in the long run. Remember that, both of you, victor and vanquished.” And both men did remember that – the record proves it.

Jock McAvoy And John Henry Lewis

Lewis won the Light Heavyweight title from Bob Olin on October 31, 1935 by decision in an exciting fifteen round battle. From then until his final fight in 1939 against Joe Louis, John Henry fought 59 times in a combination of title defenses and non-title fights against light heavyweights and heavyweights. He lost only five times including the loss to Louis. One loss was a controversial decision to heavyweight Al Ettore whom he defeated in two subsequent bouts. He also beat Johnny Risko, Elmer Ray, Jimmy Adamick, Al Gainer, Jock McAvoy, Len Harvey, and Patsy Peroni. Before winning the title he defeated Red Burman, Tiger Jack Fox, future heavyweight champ Jimmy Braddock, and Tony Shucco. His career of 117 fights took place over ten years in an era that was extremely rich with talent. Lewis still wanted to fight despite having lost the vision in his left eye which was the reason the commissions pulled his license; a wise decision. He was only 25 years old. (Jock McAvoy and John Henry)

Upon retirement he became a liquor salesman. Having started boxing professionally at the age of 14 he managed to put together a spectacular career and leave the game while still a young man.

John Henry Lewis died in 1974 at the age of 59. He was suffering from emphysema and Parkinson’s disease. It is believed he was a descendent of Tom Molineaux the great bare knuckle boxer. It is sad that this great fighter and soft spoken gentleman has been all but forgotten. Perhaps if he didn’t have to retire so young things may have been different. When you hear the name John Henry Lewis, resist the urge to immediately think of his fight with Joe Louis. Rather, take some time to look at his record and learn more about his outstanding career.

“BELTS? WE DON’T NEED NO STINKIN’ BELTS!” A MESSAGE TO ERROL SPENCE JR. AND TERENCE CRAWFORD: TOSS THE BELTS AND KEEP THE MONEY

BY 

MIKE SILVER

Six weeks ago at the press conference announcing the highly anticipated July 29th welterweight title fight between Errol Spence Jr. and Terence Crawford something remarkable happened. Errol Spence boldly called out the four sanctioning bodies (WBC, WBA, IBF and WBO)   for the huge fees they charge to every boxer who fights for one of their title belts. “We got to know where this money is going to”, said Spence. “How is it helping the fighters out? What are they doing with it?” 

Highway Robbery

Spence had good reason to ask. According to ESPN both he and Crawford are guaranteed a minimum of 10 million dollars apiece for their Showtime pay-per-view unification fight. Since all four organizations’ title belts will be on the line Spence and Crawford are supposed to give up 3 percent of their purse to each group as a “sanctioning fee”. That amounts to a total 12 per cent of 20 million dollars ($2,400,000) to be split four ways by the sanctioning groups. At the very least each boxer will have to pay $1,200,000 to these groups for the privilege of fighting for the belts. (If pay-per-view sales are strong the amount will be even higher).That is an obscene price to pay for the right to be recognized as champion by these self-appointed quasi-official ratings organizations.  

Scam Artists

By the early 2000s the Mexico City based World Boxing Council (WBC) had already collected over $20 million in sanctioning fees from boxers’ purses, with an estimated ninety per cent of the money generated in the Unites States. The main source of income for the WBC, WBA, IBF and WBO (aka “the alphabet gangs”) are the aforementioned sanctioning fees. Each organization takes 3 per cent of the champion and challenger’s purse for every title fight they certify. The increase in the number of weight divisions in the 1980s from ten to 17 is directly tied to the desire of all four organizations wanting to collect additional fees while giving back to the sport nothing of value. It was a matter of simple economics– more weight divisions meant more title fights and thus more fees.  But it still wasn’t enough for these greedy hustlers. Adding yet more weight divisions would be too hard a sell, so they decided on a clever innovation. The sanctioning organizations invented additional titles within each of the 17 weight categories with names like “International”, “Global”, “Interim”,  “Super”, “Super, Super”, “Regular”, “Green”, “Diamond”, “Gold”, “Silver”, “Youth”, “Francophone”, “Champion in Recess”, “Franchise”.  As a result, there are nearly 200 of these fabricated titles currently crowding professional boxing’s schizoid landscape. Most of these “champions” are unknown to even the most avid boxing fans. But that is of no concern to the alphabet gangs. What is important to them is that every boxing match broadcast by cable TV or a streaming internet service is for some kind of cockamamie title that requires both challenger and champion to cough up the 3 per cent sanctioning fee.  With the rush to crown so many champions the fights often involve novice professionals with fewer than a dozen fights. 

New titles pop up every year, so it’s safe to say the only people keeping track of all the belts (and fees) are the organizations’ bookkeepers. The WBA alone has 45 “champions” across 17 weight divisions. As soon as a title fight ends a representative of the sanctioning organization enters the ring to present the winner with an oversized leather and metal belt.   

In his outstanding book, Boxing Confidential, author Jim Brady put the current title situation in historical perspective: “In the 1950s, there were approximately 5000 fighters worldwide. There were generally eight weight divisions, with one champion in each. That breaks down to one champ every 625 boxers. Today, with just the major sanctioning bodies and not counting the whackos, you have about one ‘world champion’ for every sixty-nine pros. It’s ridiculous.” No other major sport, with the exception of professional wrestling, would put up with the absurdity. 

So, in the words of Errol Spence, “Where is the money going to? How is it helping the fighters out? What are they doing with it?” In his blog post of June 22nd, the Editor of England’s respected Boxing News, Matt Christie, wrote, “It clearly isn’t being used to pay honest and knowledgeable people to compile rankings, it’s not adding to a pension pot for boxers, it’s not being spent on the carrying out of background checks on the criminals they do business with, nor is a penny going to charities like Ringside Charitable Trust.” 

With no one to rein them in the alphabet gangs find it easy to make up their own rules and then break them when it suits their purposes. They manipulate their ratings of contenders to accommodate the needs of a few powerful promoters ahead of the welfare of boxers and the sport. Even casual fans know their monthly ratings are not to be trusted. Champions recognized by one sanctioning organization are not even rated in the top ten contender lists of a rival group. Under the table payments and secret deals between promoters and sanctioning organizations can get a less than mediocre fighter rated among the top contenders in his weight division. In order to provide a popular alphabet champion with a safe title defense the boxer’s promoter can arrange to have an inferior opponent rated to justify the mismatch. If boxing had a national commissioner similar to other professional sports the sanctioning organizations would have been thrown out years ago. 

A Rare Opportunity

Errol Spence Jr. and Terence Crawford have a rare opportunity to actually do something that could help their sport and all fighters who are forced to give up a large chunk of their earnings to these thieves. All it would take is for Crawford and Spence to refuse to pay any sanctioning fees to the WBC, WBA, IBF and WBO. There is no logical reason why they should have to pay. With or without the belts would any fight fight fan on the planet doubt that the winner of Spence vs. Crawford is the best welterweight in the world? The new champion, whoever it will be, does not need a belt to prove it. Wouldn’t it be wonderful if their refusal to pay sanctioning fees encouraged other high profile boxers to do the same?  Every boxer would benefit and so would the sport. It’s a long shot, but maybe this can be the start of a movement that will eventually drive the alphabet gangs out of the sport. Denying them fees would eliminate their raison d être and like rats deserting a sinking ship they would quickly disappear. 

If both Spence and Crawford refuse to pay fees, the sanctioning organizations, according to their rules, will strip them of the belts and declare the titles vacant. If past history is any guide all four groups will then seek to crown their own welterweight champion and return to doing business as usual.  

The People’s Champion

But what will we call the winner of the Spence vs. Crawford showdown if the new champion walks out of the ring without the four alphabet belts. Since he will no longer be a standard bearer for the WBC, WBA, IBF and WBO, why not call him “The People’s Champion”.  That title—“People’s Champion”—should only be reserved for the fighter who has proven to be the best in his weight class by beating the best. It would have nothing to do with holding 2, 3, 4 or more alphabet belts. The belts should be considered meaningless unless the fighter has earned the title of “People’s Champion” by meeting and defeating the best competition. The fans’ acknowledgement is all that is needed. That was the way it used to be from the early 1900s to the 1970s. 

When Jack Dempsey knocked out Jess Willard to win the heavyweight championship in 1919 there were no sanctioning organizations and no belts or fees. In fact, of the hundreds of photos I have seen of the legendary “Manassa Mauler” I have yet to come across one showing him wearing a championship belt. The public recognized Dempsey as a legitimate world champion because he beat the man that beat the man. The approbation of a “sanctioning organization” was unnecessary, and it was the same for every heavyweight champion that followed him for the next 60 years. So, to paraphrase the famous “badges” line from the classic 1948 film, Treasure of the Sierra Madre, both Spence and Crawford should tell the alphabet bandits—We don’t need your stinkin’ belts!” 

When the undefeated heavyweight champion Muhammad Ali was stripped of his title for refusing to be drafted into the army in 1967 he declared himself “The People’s Champion” and until defeated by Joe Frazier the people agreed with him.  When great fighters such as Sonny Liston, Harold Johnson, Emile Griffith, Carlos Ortiz and Eder Jofre won their respective titles in the early 1960s there was no WBC or WBA. The only sanctioning organization that existed in the U.S. was the old National Boxing Association which began in 1921 and eventually grew to represent a loose confederation of 43 member states. Over the next 40 plus years it was staffed by a small group of unpaid but knowledgeable volunteers that recognized champions and rated the top ten fighters for each of boxing’s eight traditional weight divisions. Some of the volunteers were employed by their state athletic commission; most of the others had full time jobs unrelated to boxing. What they all had in common was a love for the sport. They were not seeking to use boxing to line their pockets. The ratings of the NBA were considered reliable and they could not be bought. Unlike today’s sanctioning organizations, the NBA was independent of promoters and did not seek to influence who would referee or judge a title fight. Their only purpose was to add a measure of credibility and coherent structure to boxing, something that is sadly lacking today. Yes, there was a sanctioning fee imposed for NBA recognized title fights. It was a token one dollar. That’s right—one dollar! And it was paid by the promoter. 

But, as noted earlier, things began to change in the late 1970s coinciding with renewed interest in televised boxing that took off a decade later. The National Boxing Association had since morphed into the World Boxing Association (WBA) and moved its headquarters from the U.S. to Panama where a new group took over. (Its current headquarters are in Venezuela). Executives at the CBS and ABC television networks, although satisfied with boxing’s high Nielsen ratings, were concerned about the sport’s less than stellar reputation and a recent scandal involving a corrupt Don King sponsored tournament. To defer blame for any future scandals they insisted on some type of official imprimatur when advertising title fights so they turned to the only “sanctioning organizations” available at the time—the WBA and a spinoff organization calling itself the World Boxing Council (WBC) with headquarters in Mexico. Don King and Bob Arum, the sports major promoters, each had contracts with most of the champions and contenders attractive to television. The competitors were quick to realize the importance TV was allocating to these mostly insignificant entities so they formed mutually beneficial partnerships with them (King with the WBC and Arum with the WBA). The rest is history. (For a complete explanation of how the alphabet gangs came to power see chapter 15 in Mike Silver’s book, “The Arc of Boxing: The Rise and Decline of the Sweet Science (McFarland Publishers, 2008). 

So I ask you, Terence Crawford and Errol Spence Jr., for the good of the sport you love and have devoted your life to, at this most important time in your respective boxing careers, toss your alphabet belts and refuse to pay the sanctioning fees. You will not only keep over two million dollars that no one should be entitled to take from you, but also strike the first significant blow that could mean the beginning of the end for the alphabet gangs. For too long they have robbed too many fighters while at the same time devaluing what it means to be a true “world champion”. Hopefully your action might encourage other high profile boxers to do the same. If some good comes out of it future generations of fighters will bless and honor you for your courage and commitment to doing what is right. 

Mike Silver is a former inspector with the New York State Athletic Commission and author of three books on boxing: The Arc of Boxing: The Rise and Decline of the Sweet Science; Stars in the Ring: Jewish Champions in the Golden Age of Boxing; The Night the Referee Hit Back: Memorable Moments From the World of Boxing. All are available on Amazon.com.   

Nature Vs Nurture: Looking At Ali And Marciano

By Bobby Franklin

Boxing has been called physical chess. Gene Tunney once described the sport as “The art of thinking expressed in action”. In fact, in spite of its primitive nature, boxing was the most cerebral of competitions. While the basics of the sport went back to Cain and Abel, the science developed over the centuries. Prizefighting became an art form, albeit a brutal one. When matches were made, fans didn’t just discuss the size and strength of the men involved, they also argued over whose style would prevail. In the simplest of terms there were those who favored sluggers and those who favored “boxers”, but it was more nuanced than that.

It is easy to put fighters into an either or category. Muhammad Ali would be called a boxer by many while Rocky Marciano would be placed in the slugger file. However, it’s not all that simple. While Ali had great speed and reflexes, when those physical attributes declined later in his career he ended up on the receiving end of some serious punishment. An example would be his fight with Earnie Shavers, a bout in which he took some horrific punches; hardly the performance of a “boxer”.

Rocky Marciano would be put into the slugger slot by many fans. This does not do credit to the very great technical skills he had. Did Rocky ever take the type of brain rattling shots in a fight that Ali did when he fought Shavers? I think the answer is clearly no. On a technical level, Marciano had better defensive skills than Ali.

Now I know many will be shaking their heads at that statement, but bear with me. In Ali’s earlier career he possessed amazing physical skills. They could be called phenomenal. He had an uncanny sense for anticipating punches, something he called his “internal radar”. Along with this sense he had the amazing speed to react to what his radar signaled him. As he aged he started to lose that ability to react. Once he slowed down he started getting hit more. In truth, he had never acquired the technical skills to mount a great defense as he slowed down. He started winning fights on guts and willpower. He got hit with a tremendous amount of punches in the second half of his career. This was what caused him to end up in such terrible condition toward the end of his fighting days. This worsened after his retirement. He actually ended up in worse shape than any other heavyweight champion.

Why did this happen? It was because Ali became a victim of his own natural talents. He never learned the fine points of the art of boxing. He didn’t need to when he was young. He did so many things wrong, but never paid a price for these mistakes because he was so fast. Once the speed left him he had no skill set to fall back on other than his ability to absorb punishment and his improvisational moves.

Now let’s look at the slugger, a man whose natural abilities were not the greatest fit for boxing, but when schooled properly he was able to take what he had and become an unstoppable force in the ring. He also used the schooling he received to become a difficult target for damaging punches.

Rocky Marciano was not the usual model for becoming successful as a heavyweight fighter. He wasn’t as tall as the average competitor, he had short arms, weighed under 190 pounds, and came to boxing later than most (his first wish was to be a professional baseball player).

When the great trainer Charley Goldman was initially asked to school the young prospect from Brockton, he didn’t have much hope for turning him into a top boxer, but once he got to know Rocky he could see there was something special in this man.

Marciano though clumsy, possessed amazing strength, stamina, willpower, self- discipline, and an extraordinarily hard punch. Goldman was able to work with him to develop a style that played on Marciano’s plusses and compensated for his weaknesses.

Over time the Rock became one of the greatest heavyweight champions of all time. Goldman schooled him well, but the style Marciano used would not have worked for a man that didn’t possess his unusual physical attributes. He became a cagey yet brutal force in the ring. It wasn’t just his powerful punch but also his ability to throw one blow after another with all the force of his body behind it while moving forward. Yes, he had skill, but he also had the endurance to be as strong in the later rounds as he was in the early rounds; in fact, he actually got stronger as his fights progressed; just ask Archie Moore.

Some fighters are called “naturals.” They are the ones that show tremendous talent from the moment they first step into the ring. This talent is the type that is not taught; it is rather a combination of great physical ability and good instincts. Ali possessed both of these traits. Marciano, while very powerful, was not blessed with great moves right out of the box. His had to be developed.

What Charley Goldman did with Rocky was to come up with moves that would take his strengths and build on them while compensating for his shortcomings. It took time and a lot of dedication, and hard work to mold the diamond in the rough from Brockton into the great champion he became. Ali, on the other hand, had so many natural moves that Angelo Dundee pretty much let him ad lib his development. This is not to say he did not give Ali instruction, but this advice came more as suggestions rather than schooling. This method worked as long as Ali had possession of his amazing physical gifts, but he paid a huge price for having not learned to supplement that gift with a schooling in the Art of Boxing.

In Ali’s career you can see an arc in his skills. That arc follows the changes in his athleticism and the decline that ensued as his physical abilities waned. With Marciano, the trajectory you see shows continual progress. He was always learning, always listening, and aways improving.

With both men, their physical strengths played a major role in their greatness. But with one, Ali, he almost exclusively depended on his natural gift, while the other, Marciano, nurtured the strong points he had. So when comparing the two I would say nurture was the better path than nature.Rocky Marciano retired in 1955 at the age of 32 after his 49th fight, and until his death in 1969 he was clear headed and showed no signs of damage from his career. Of course, because of his unfortunate death at the age of 45 there is no telling how he would have fared as he got older. But we do know when he walked away from the sport he was fine.

Ali retired in 1981 after his 61st fight. He was 39 years old and had already been showing signs of brain damage for a number of years. He not only stayed in the game too long, he took terrible punishment in those later years. Much of this is attributable to the fact he never learned good defensive skills. Those would be the kind of skills men like Archie Moore and Harold Johnson possessed that allowed them to fight for many years without ending up badly damaged. If Ali had at least some of the skills these men possessed he very well would have been able to avoid the awful shots he took from Earnie Shavers and others.

Just imagine how great Muhammad Ali would have been had he allowed himself to be schooled in the finer points of the art. If he had, he may have walked away with his faculties intact as Marciano did, rather than becoming the poster boy for boxing head injuries.

 

Rest In Peace Roy Harris

Heavyweight From Cut And Shoot Texas

Challenged For Heavyweight Title

Roy Harris

By Bobby Franklin

Roy Harris, who in 1958 fought for the Heavyweight Title, passed away on August 8th. He was 90 years old. He died peacefully at his home in Cut and Shoot, Texas surrounded by his children and large family. Mr. Harris was born in Cut and Shoot on June 29, 1933, and he lived his entire life there.

When Roy was eight years old, his bother Tobe traded a couple of wild ducks for a pair of boxing gloves. Their father gave the boys boxing lessons. This was the start of the long road that led to Roy getting a shot at the Heavyweight Championship of the World.

Roy and his brothers would spend their free time sparring in a makeshift ring. Eventually, Harris would move on to an amateur boxing career where he won four consecutive Texas State Golden Glove Championships. He then turned pro in order to earn money for college tuition. 

Young Roy Getting Pointers From His Father

In the professional ring, Harris reeled off 23 consecutive wins. With victories over Charley Norkus,  Bob Baker, Willie Pastrano, and Willi Besmanoff, Roy was deemed worthy of a shot at champion Floyd Patterson. The fight took place on August 18, 1958 at Wrigley Field in Los Angeles, California.

The gate of 21,680 fans set an attendance record at the time for the state of California. In addition to the live gate, another 200,000 people watched the fight on closed circuit television. The fight also put the town of Cut and Shoot in the spotlight as reporters descended on the challenger’s hometown.

The fight didn’t disappoint when it came to action. Though the people in Roy’s hometown were disappointed he wasn’t able to bring the title belt home, they were and remain proud of the battle he put up. 

Floyd Patterson And Roy Harris At Weigh In

In the second round Harris landed a solid uppercut on the Champion’s chin that dropped Patterson. When Floyd got up he was hit with a left hook that he later admitted “dizzied” him.

As the fight entered the seventh round, Patterson began to hit his stride and dropped Harris. In the eight round he floored the challenger two more times, and in the twelfth round floored the very game Harris one more time.

Roy was willing to come out for the next round, but his trainer Bill Gore stopped the fight before the bell rang. It was the right thing to do. The man from Cut and Shoot had given it his all but Patterson was just too much for him. 

Harris would continue fighting hoping to earn another shot at the crown. He added some impressive wins to his record including victories over Charlie Powell, Joe Bygraves, and Alejandro Lavorante. While not getting another title bout, he was matched with the number one contender. Unfortunately, that meant stepping in the ring with Sonny Liston. Liston was at his deadly prime at this point. Patterson was avoiding him and the future champ was mowing down the top contenders.

Roy Teaching Fourth Graders

Outweighed by eighteen pounds, Harris took the fight to Sonny. He just did not have the fire power to hang in there with the ferocious Liston, and was dropped three times in the first round. The fight was stopped because of the three knockdown rule which automatically meant the bout was over. 

Roy had three more fights before retiring in 1961. His professional record is 30 wins and 5 losses. Most importantly, he quit boxing with his faculties fully intact.

While his boxing career may have been over, he was just beginning his life’s work which included becoming a school teacher and then a lawyer. While in college Harris also was in the ROTC and earned the rank of Captain in the Army.

On top of his teaching, military, and law careers, Roy was also elected Montgomery County Clerk, a position he served in for twenty-eight years. He was always there for his friends and family. Anyone in need knew they could count on Cut and Shoot Roy.

Roy Gets A Good Luck Kiss From Wife Gloria

On September 24, 1955 Roy married the love of his life, Gloria Jean Groce. Together they raised six children. He never completely recovered from the loss of Gloria Jean who passed away in 2008. He loved her deeply. His family has always remained close and have lived by the values Roy instilled in them.

He remained active in the community for the rest of his life. Helping neighbors, supporting family members, and even taking time to give boxing lessons at the local gym. 

Also known as “The Battler From The Backwoods”, Roy Harris was the epitome of what a real man is. He was a soft spoken Southern Gentleman, handsome and physically imposing. While all business in the ring, he was a kind and gentle man when not wearing the gloves. He devoted his life to helping others, never left where he came from both physically and in the values he lived by.

Roy Enjoying A Full Life

Boxing fans mostly know Roy Harris by his losses to Patterson and Liston. He should also be remembered for his many victories in the ring, but mostly for the exemplary life he lived. His family and the people of Cut and Shoot, Texas will never forget his grace and goodness. He may not have won the Heavyweight Title, but the Championship he possessed was much bigger than that. Roy Harris was a true Champion and the best of role models in the way he lived his life. The world would be a better place if there were more people like him in it.

Dempsey Vs Firpo 100 Years Later: Was It Really A Legendary Fight?

By Bobby Franklin

Dempsey Vs Firpo By George Bellows

On September 14, 1923 Jack Dempsey and Luis Angel Firpo stepped into the ring at the Polos Grounds in New York. What happened in the first round turned a one sided fight into the stuff of legend.

The previous July, Jack Dempsey had defended his title against Tommy Gibbons via a 15 round unanimous decision. The fight, held in Shelby, Montana became better known for bankrupting the town than it did for being an exciting fight. 

Since winning the title from Jess Willard in 1919, Dempsey had defended the title four times. He was fighting once or twice a year, which was fairly active for a heavyweight champion in that era. After Willard won the title from Jack Johnson in 1915, he only fought one time before facing Dempsey. 

In addition to beating Gibbons, Dempsey also defeated  Billy Miske (KO in 3 rounds), Bill Brennan (KO in 12 rounds), and Georges Carpentier (KO in 4 rounds). The Miske  and Brennan fights were financial flops, while the Carpentier fight drew the first million dollar gate. The fact was, Dempsey was not a big draw as champion. The fight against Carpentier drew a large crowd because the French Champion was promoted for his heroism during the Great War. This was contrasted with all of the negative publicity Dempsey had received when it was reported he avoided being drafted. The majority of people came to see Jack get beaten. 

During this time, Jess Willard was on the comeback trail. He was itching for a rematch with Dempsey. He believed there had been some monkey business with Jack’s gloves in their fight in Toledo, and he wanted to prove he was the better man. Jess was also still a huge draw,

In May of 1923, Willard took on Floyd Johnson in Yankee Stadium. The fight drew 65,000 spectators. Contrast this with the 13,000 who showed up for the Dempsey/Brennan fight or the approximately 11,000 who attended the Dempsey/Miske bout. It was clear Jack needed am opponent  who could draw if he wanted to make big money.

Firpo Landing A Right On Jess Willard

On July 12, 1923, Jess Willard took on Luis Angel Firpo of Argentina at Boyles Thirty Acres, the same site where Dempsey fought Carpentier. Billed as the Battle of the Giants, this fight actually drew a larger crowd than the Dempsey fight. The winner was to get a shot at the Heavyweight Championship. In front of 100,000 fans, Firpo stopped Willard in the 8th round.

While a Willard vs Dempsey rematch certainly would have been a huge attraction, Firpo now became quite an attraction himself with his display of raw punching power against Willard. Thus, promoter Tex Rickard had a drawing card to match against Dempsey.

Going into the fight with Dempsey, Firpo had fought 28 times losing just twice. He hadn’t lost a match in four years and had scored 22 knockouts. He was crude yet powerful with a devastating right hand. His free swinging style earned him the name Wild Bull Of The Pampas which was also a reference to his home of Argentina.

1923 was a busy year for Firpo. He fought eight times leading up to the Dempsey fight in September. Among his victims were Bill Brennan and Charley Weinert, both of whom he kayoed. 

Firpo And Dempsey

The Dempsey matchup against Firpo proved to be a fight the public wanted to see. 80,000 fans jammed the Polo Grounds on the night of September 14 to see the two fierce punchers go at it. They were not disappointed, though the match might not have become legend if something unusual hadn’t happened in the first round.

The champion weighed 192 pounds while Firpo tipped the scales at 216 pounds. Luis was also taller at 6′ 2½″ to Jack at 6’ 1”, and the size difference showed when the two men met mid ring for the preflight instructions. 

At the bell, Dempsey came out with fire in his eyes. It was clear he was looking to make an early night of it. In the first few seconds of the fight, In his haste to get to the challenger, Jack actually slipped to the canvas briefly. With under a minute gone Dempsey had decked Firpo four times. With the fourth knockdown it looked like the fight was over as the Argentinian was slow to arise, just beating the count. He was dropped again almost immediately. This was turning into a one sided match. 

Firpo was throwing haymaker rights hoping to connect. Dempsey was staying low and focusing on the body where he was doing serious damage to the challenger. After being down for the fifth time, Firpo went for broke throwing punch after punch while hurling himself forward. One of these punches grazed Jack and caused him to drop to a knee for less than a one count. Could Firpo get lucky?

Dempsey kept pounding the body and dropped Firpo again with a right hand and then a seventh time. The end appeared near. By now Firpo was throwing right hands almost exclusively. Big, strong and powerful, he remained dangerous.

Firpo Knocks Dempsey Out Of The Ring

It was at this point the fight turned from Pier Six Brawl to something else. Firpo was lunging at Dempsey throwing those rights. He backed Jack against the ropes where he caught the champion with a good right hand to the jaw. He followed this up with another right to the side of the face that was more of a push. This was enough to cause Dempsey to fall through the ropes and out of the ring. 

The crowd, which had been on its feet since the first knock down was going wild. Dempsey was back in the ring by the count of nine and the fight resumed. Firpo was going wild now and was all over the champion, but could not hurt Jack again. 

At the bell for the second round Dempsey was not wasting any time. He dropped Firpo for the eighth time, and then finished him off with a left and a right to the chin. The fight was over at 57 seconds of the round. 

Dempsey Stands Over Firpo

There was and still is controversy over the fight. When Jack was knocked out of the ring, the rules state he had to return under his own power. It has long been argued whether or not the sportswriters at ringside assisted him with getting back through the ropes. The referee, Johnny Gallagher was criticized by some for not disqualifying the champion. He was also called to task for not keeping Dempsey away from Firpo when the challenger was on the canvas. While there was no neutral corner rule at the time, the referee was supposed to prevent the fighter from scoring the knockdown from standing directly over his floored opponent. Gallagher was suspended from the sport after an investigation and never refereed again. In 1930 he was found dead in a New York City hotel room. The official cause of death was liver failure due to alcoholism. Many believed he committed suicide.

As for the fight. If you take out the moment Dempsey was knocked out of the ring and the controversy surrounding his getting back in, the fight would be looked back on as an exciting but one sided affair. It’s doubtful it would have become the thing of legend. For a century now the fight has stirred excitement in the hearts of boxing enthusiasts. It has been mentioned in movies and was the subject of a famous 1924 painting by George Bellows titled “Dempsey and Firpo”, but popularly known as “Dempsey Through The Ropes”.

Jack Dempsey would not fight again for three years, losing the title to Gene Tunney in 1926. Luis Firpo retired in 1926 but made a comeback ten years later. His last fight was a loss by stoppage to Arturo Godoy in 1936.

In his fight with Dempsey, Firpo was dropped nine times in less than four minutes. The fight was almost as one sided as the Dempsey/Willard fight, and in fact, Jess was still standing at the end of that fight while Luis was counted out against Jack. However, The Wild Bull did something Willard never came close to; he not only decked Jack, he knock him clear out of the ring. This eclipsed what was otherwise a very one sided fight. Firpo was always dangerous in there, but he did not have the skill to defeat Dempsey.

While the fight can be broken down and analyzed, it is better remembered for the emotional thrill it has given fight fans. The line from “The Man Who Shot Liberty Valance” seems appropriate here:”When the legend becomes fact, print the legend.” I can go along with that!
https://youtu.be/ng3k1mmj2rE?si=wcgBy07gjrvwbrae

Max Schmeling Vs Young Stribling

By Bobby Franklin

Stribling And Schmeling

Max Schmeling is best remembered for his two fights with Joe Louis. Both were spectacular bouts. In their first encounter, which took place in 1936, Schmeling, considered past his prime, shocked the world when he kayoed Louis in the 12th round of a scheduled 15-round match. Max fought brilliantly that night, taking advantage of a flaw he saw in Joe’s defense. The two fought again, this time for the world heavyweight championship in 1938. In an event with repercussions beyond boxing, Louis destroyed Schmeling in the first round.

It was in 1930 that Max won the heavyweight crown. The German had arrived in the United States two years earlier and had become popular with the fans on this side of the ocean. His physical resemblance to Jack Dempsey was played up, and he was frequently seen in public with the Manassa Mauler.

After his arrival, Max ran off five straight wins from 1928 through 1929, including a decision over Paolino Uzcudun and a knockout victory of Johnny Risko. The Risko bout was named Fight of the Year by Ring Magazine.

It was at this time heavyweight champ Gene Tunney decided to retire from the ring. Schmeling and Jack Sharkey were picked to fight for the vacant title. Schmeling’s victories had earned him a shot, and Jack Sharkey’s recent decision win over Young Stripling put him into the other corner.

The fight took place on June 12, 1930 before a crowd of nearly 80,000 at Yankee Stadium. In the 4th round, Sharkey hit Schmeling with a low blow. Max sank to the canvas while his manager jumped into the ring yelling foul. The fight was awarded to the German. This was the only time in boxing history that a boxer won the heavyweight championship while on the canvas.

There were cries for a rematch, but Max had other ideas. He wanted to defend the title against another challenger first. No, he wasn’t looking for a soft touch, and this was proven when he agreed to take on Young Stribling.

Young Stribling

Since his loss to Sharkey in 1929, Stribling had fought 26 times, losing only twice, with both losses by disqualification. At the time of the Schmeling match, Stribling had a total of 267 fights with only 13 losses and 17 draws. 121 of those wins came via knockout. In that time, he had never been stopped, a remarkable feat.

The Schmeling/Stribling bout was scheduled for July 3, 1931 at Municipal Stadium, Cleveland, Ohio. A crowd of 35,000 attended, contributing a gate of $349,000. What they witnessed was a great contest between two boxer/punchers.

The fight was exciting and interesting. In the early rounds, it was close, but as it wore on, Max started pulling ahead. The champion was the aggressor and would work his way in behind a left jab, setting up his powerful right hand. Stribling also employed a sharp left hand, and the two exchanged left jabs on numerous occasions.

Young Stribling (left) And Max Schmeling

It is interesting to watch just how much Schmeling used his left hand in the fight. He became known for his lethal right hand, which certainly was one of the best ever seen, but Max was no one-handed fighter. In fact, he was a brilliant scientific boxer who calculated his every move using both hands.

In the fifteenth round, with the champion on his way to winning the decision and with just seconds remaining in the fight, Max landed a vicious right that put Stribling down for the count. Somehow, the challenger was able to drag himself to his feet but could hardly stand up. The referee wisely called a halt to the fight.

The Stribling/Schmeling fight is an overlooked bout in Max’s career. It is a terrific fight to watch as you get to see two fighters with dynamite in their fists box smartly, employing
ring savvy in trying to outfox one another.

Schmeling Stands Over Stripling In The 15th Round

Schmeling demonstrated that being a great puncher consists not only in having power, but in developing a delivery system for that force. Max did not waste motion or energy by just throwing lots of bombs, hoping for the best. He sized his opponent up, measured him, played physical chess, and then took advantage of the opportunity when it arose.

In a career that consisted of 253 fights, Stribling was only stopped once, and Max Schmeling was the man who did it. This was no fluke either. The punch that ended the fight was not a lucky shot. It was a perfectly executed right hand that did the job.
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Max Schmeling is rarely, if ever, mentioned in a discussion of the greatest heavyweight champions of all time, but he should be. Nat Fleischer, the publisher of Ring Magazine, ranked him 7th out of 10 in his best-of-all-time list in 1971.

Max would have been a handful for any of the champs in history, particularly those with a vulnerability to a right hand. He was deceptively fast and a superb ring mechanic. It is time for Max Schmeling to be reevaluated. A good place to start is with his fight against Young Stribling.

https://youtu.be/5WeLq5Xorjs?si=8Kc_DyPo81AGF73w

Red Burman Was Not Intimidated By Joe Louis

By Bobby Franklin

“I define fear as standing across the ring from Joe Louis and knowing he wants to go home early.” Max Baer

Red Burman And Trainer Eddie Ross

Those words rang true for many who challenged Joe Louis for the Heavyweight Championship. Louis was certainly a champion to be in awe of. He had lethal power in both hands, with blistering combinations and guided missile accuracy. For his challengers, it wasn’t just a matter of being in with a man who repeatedly reinforced his reputation for greatness; it was also a matter of surviving with their senses still in one
piece.

Joe was a machine of destruction in the ring, and that well earned reputation struck even the most professional of fighters with the jitters when the moment came they had to step into the ring to face him. It has been reported that Max Baer, a man whose courage was never questioned, hesitated when the call came to his dressing room that it was
time to fight Louis.

There had been many who had to deal with the Joe Louis Jitters. Some held up okay while others froze up when the bell rang. One man who did not let fear overcome him was Clarence “Red” Burman.

Red Burman was a protege of former champ Jack Dempsey. He was born in Baltimore and fought out of that city for his entire career. Burman began fighting as a professional in 1930. His early fights were in the middleweight division. He gradually put on weight and began competing as a heavyweight in the later 1930s, though he never weighed over 200 pounds.

Throughout the 1930s, he compiled a respectable record. Burman was on a 14-fight winning streak when, in 1936, he took on the great light heavyweight champion John Henry Lewis in a non-title fight. Lewis kayoed Burman in
the second round of a one-sided bout.

Burman came back from that devastating loss and, over the next four years, ran up a record of 27 wins, 3 losses, and 1 draw. It was in 1939 that he began making waves as a serious contender for the world title. In a pair of fights against Tommy Farr he won and lost close decisions. After the loss to Farr, Red went on to win nine in a row. Wins over
Steve Dudas and Tony Musto earned him a shot at Joe Louis.

Red Burman On The Attack Against Louis

The Louis/Burman fight took place on January 31, 1941 at Madison Square Garden. It was not felt Red would be able to put up much of a battle against the Brown Bomber, but he surprised everyone, Louis included. Somehow Burman had not only managed to avoid being intimidated by Louis, but as the UP reported, “The big crowd in Madison Square Garden saw Burman light into Louis like he never heard of him, and continue to fight with everything he had until a final sickening right under the heart sent him down in 2:49 of the fifth round”. (

There is no film of the fight available, but I was able to find a recording of the radio broadcast of the bout. The UP description of the fight is certainly accurate. Joe had his hands full with Burman, who never took a backwards step
during the entire fight.

Louis Finishes Off Burman

Burman who weighed in at 188 pounds to Louis’s 203, looked to be emulating his mentor Jack Dempsey with his all out assault on the champion. He was unable to hurt the champion, but Louis, though landing solid shots to the head
was not able to shake Burman. (Final moments of Red’s fight with Joe Louis)
Going into the fifth round, Burman still appeared fresh though he was cut over the left eye. It was in this round that Louis shifted gears and began attacking the body. A hard right to the pit of the stomach was the beginning of the end. Joe followed this up with a devastating right hand to the heart that finished the job. The reporter at ringside wrote
“It landed over Burman’s heart, and Red crumbled like he had been shot”.

After the fight Louis said “He really came after me. I had to hit him the hardest I ever hit a man”. While Louis was never in danger of being beaten and was not hurt at anytime during the fight, he still had his work cut out for him with the relentless
challenger.

Robert Savon Pious: Joe Louis vs Red Burman

Red Burman was always proud of his effort against Joe Louis, as well he should have been. He gave it his all and then some. He stood up to the punches of the most lethal heavyweight champion in history. Burman was the personification of
courage that night in New York City.

Burman would continue fighting for a little under two more years. He retired in 1942 with a record of 78 wins (33 by knockout), 22 losses, and 3 draws. Later in his life he said “Without Joe giving me a chance at the title, the world would never have heard of me. I’m indebted to him, and in my nightly prayers I never forget to include his name”. That quote is not completely accurate, as Burman’s performance against Louis contributed greatly to the world knowing who he was.

Red Burman died in Baltimore on January 25, 1996 at the age of 80. His legacy lives on in his hometown where they are still proud of the man who took the fight to the Great
Joe Louis.

Jimmy Ellis: Middleweight

Heavyweight Champ Fought Top Middleweights In Early Years Of His Career

By Bobby Franklin

Jimmy Ellis Middleweight

Jimmy Ellis is best remembered for his career as a heavyweight. In 1968, he defeated Jerry Quarry in the final match of the WBA tournament to crown a successor to Muhammad Ali. Ali had been stripped of his title by the various boxing commissions and sanctioning organizations because of his refusal to join the military (Ring Magazine was the notable exception, continuing to list Ali as Champ in their ratings).

What is overlooked is Jimmy’s career as a middleweight. He began fighting professionally in the lighter division, debuting in 1961 when he kayoed Arley Seifer. That fight was the beginning of a 20-fight run as a middleweight, during which he fought many of the top contenders. 

Ellis was not managed very carefully during that time. He was put in with much more experienced pros early on. In just his fourth fight, he was matched with Wilf Greaves, a veteran who had 54 fights. Greaves had beaten Charley Cotten and Dick Tiger. He also broke Gene Fullmer’s jaw in a fight where he lost a very close decision. Ellis lost a majority decision in the fight. 

Just two fights later, he was tossed in with Holly Mims. With 84 fights under his belt at that time, Mims was a cagey fighter who outboxed Ellis over ten rounds.

Ellis’s opponents at that point had a total of 255 fights, while Jimmy had six or less. None had a losing record. This was all in his first year as a professional

Ellis’s opponents at that point had a total of 255 fights, while Jimmy had six or less. None had a losing record. This was all in his first year as a professional. At this point in his career, a talented young fighter should have been guided carefully to develop his skills and confidence. Instead, he was tossed in with whomever the promoters offered.

Ellis could have ended up ruined, but he was a survivor. In 1962, in his seventh fight, he beat Rory Calhoun, a fighter with a record of 45/14/2. That year would prove to be a good one for the young middleweight as he won seven fights, including a win in a rematch with Mims. His only loss was by decision to Henry Hank. 

After the loss to Hank, Jimmy laced together a few more wins before losing a one sided decision to Rubin Hurricane Carter. At this point, his career seemed to have peaked, and he was looking to be more on the road to being an opponent than a contender. Jimmy closed out 1964 with losses to Don Fullmer and George Benton. Both fights were close, but not the wins he needed to move forward. What happened next was surprising and life-changing for Ellis.

Jimmy Beefing Up

Jimmy had been plagued with chronic tonsillitis for years. In 1965 he had them removed. After the surgery he began to put on weight. He was not getting fat. For some reason the surgery had changed his metabolism and he began to build up muscle. For the Benton fight he had weighed 160 pounds. In his next fight, just five months later, Ellis was up to 176 pounds. By the start of 1966 he had grown into a heavyweight.

Not only had Jimmy Ellis gotten bigger, he also went on a winning streak that would lead him to the WBA Heavyweight title. In fact, he would remain undefeated for the next five years. It wasn’t until 1970 that he would lose, and that was to Joe Frazier. 

Jimmy was able to retain his middleweight boxing skills while facing the bigger men. He scored wins over Billy Daniels, Johnny Persol, Leotis Martin, Oscar Bonavena, Jerry Quarry, and Floyd Patterson. Ellis also retained his punching power. He was able to floor the rock-chinned Bonavena in their fight, something Joe Frazier couldn’t do in two fights against the Argentine.

Why was Ellis so much more successful as a heavyweight than he was when fighting in the middleweight division? The answer lies in his ability to retain his middleweight boxing skills. His speed and accuracy were not unusual when fighting the smaller men, so it was not a great advantage as his middleweight opponents possessed those same attributes. 

Ellis Land A Right On Leotis Martin

Jimmy’s weight gain while unusual was natural. He didn’t bulk up by lifting weights or using steroids. His body had a natural reaction to his tonsillectomy. Yes, Ellis would have slowed down a bit from his time as a middleweight, but he was still much faster and sharper than the vast majority of heavyweights. He had also honed his boxing skills against men like Benton and Mims.

The fact is, most heavyweights were not very good boxers. The best were the ones who started out in smaller weight divisions and never got really large. Ellis is a fine example of this. The most successful heavyweights were those who could fight with the skills of middleweights. Speed and accuracy are always important in a fighter. In a heavyweight those skills made an enormous difference. Dempsey, Tunney, Louis, and the young Ali dominated because they fought like middleweights. While Jimmy Ellis would not be considered an all-time great, he was still hugely successful. Had he stayed fighting as a middleweight he never would have gone to the top, but as a heavyweight he was a force to reckon with. 

Jerry Quarry Vs Jimmy Ellis

After his loss to Frazier, Ellis started working his way back to a title shot. He defeated Roberto Davila, Tony Doyle, and George Chuvalo before facing his old friend Muhammad Ali in 1971. Jimmy was stopped in the twelfth and final round of that fight.

Jimmy once again worked his way back into contention winning eight straight fights over the next two years. Most of these fights were against opponents and journeymen.

In 1973 he stepped in with Earnie Shavers at Madison Square Garden. A win would put him back into title contention. At the opening bell Ellis came out and took the fight to Shavers. Earnie was hurt, and it appeared he might be on the way to being kayoed when he caught Jimmy with a powerful right uppercut that put Ellis on the canvas for the ten count.

Jimmy Ellis would have another seven fights before calling it quits. Out of the seven, he had only one win. He retired in 1975 after losing the sight in one of his eyes. 

 Historically, Ellis is underrated. He was an outstanding boxer/puncher who went far. His career is all the more remarkable when considering that he was fading as a middleweight, yet he was able to resurrect his career and become a heavyweight champion. 

In his peak years in the heavyweight division his only losses were to Joe Frazier and Muhammad Ali. As a middleweight Jimmy had 15 wins and five defeats. As a heavyweight, he went 24 and 7 with one draw. Most of his heavyweight losses were at the end of his career.

On May 6, 2014, suffering from dementia brought on by his years in the ring, Jimmy Ellis died at the age of 74. 

 

Dempsey Vs Gibbons In One Photo

By Bobby Franklin

I have written about Jack Dempsey a number of times. Looking at his fights against Jess Willard and Tommy Gibbons I commented on his defensive skills. My take on the Willard fight surprised a few people as they stayed focused on the tremendous beating Dempsey handed out to Willard. What I tuned in on was the way Jack set the champion up to be hit with those fierce blows. He didn’t just run at Jess while throwing punches. He bobbed and weaved while feinting. He stepped in and back out again while circling and searching for an opening. Jack wasn’t looking to go toe to toe with a man who outweighed him by over 60 pounds. He was actually fighting defensively and strategically while setting up his assault. If it had just been a slugfest Dempsey would have been hit more than he was.

The Gibbons fight was a different story as the challenger was intent on lasting the fifteen rounds without getting kayoed, so Jack had to rely more on his boxing skills than his power. This is not to say Dempsey’s power did not play a part in his victory. It was that power that had Gibbons in such a defensive posture. 

I’m not implying Gibbons just ran or spent fifteen rounds covering up. He boxed beautifully. However, Dempsey proved to be the superior boxer. While not the most watched of Jack’s fights, it is the one that gives fans a great look at Dempsey’s skills as a keen tactician.  

Jack Dempsey will always be put into the slugger category, but he was not one to take two punches to land one. He may have been a knockout artist, but he was very savvy in there.

Recently, I came across a photo of the Dempsey vs Gibbons fight that illustrates the skills of both men. It is amazing what can be gleaned from a photo, a split second moment from a fight.

Tommy Gibbons vs Jack Dempsey

 In the photo, Gibbons is throwing a hard left jab at the champion. His head is down and his chin is protected by his left arm and shoulder while his right hand is in position to defend against Jack’s left hook counter. This is a punch Tommy is anticipating. Both of Tommy’s knees are bent a bit, the left more than the right which allows him to deliver the jab with force. It is an excellent execution of a left jab.

Now to Dempsey. As good as the Gibbons’ left jab is, Jack is parrying it. Note that Dempsey has not reached out to stop the punch. Instead he is catching it just as it reaches him. This allows him to be in position to throw the counter hook. If he had reached out to stop the punch he would have been vulnerable to be hit by a left hook. He has his left hand poised to let it go. Jack’s left foot is a bit off the mat because he was stepping in when the jab was thrown by Tommy. I say this because of the positioning of Jack’s right foot and leg which appear to be propelling him forward. If there were photos from the next second or two I believe you would see Jack firing that hook as his foot settles onto the canvas. It is likely Tommy tried to slip inside of it and probably attempted to clinch.

Back when boxers were well schooled, they would focus very much on how their opponents would respond when they threw a punch. As boxer was at his most vulnerable when throwing a punch, this was very important. It is also why all good fighters were counterpunchers. It’s why feinting, a long lost skill, was employed so often. 

Jack Johnson was probably the most noted heavyweight champ when it came to using feints, but Jack Dempsey was no slouch in that department.  Yes, he may have been a slugger, but he used feints to create the openings for his great combinations. 

Boxing has been called physical chess, and that’s what it was. In chess you have to think a few moves ahead. You have to anticipate how your opponent will respond to the moves you make and then you have to plan accordingly. The same was true of boxing. It was a game of anticipation. 

One other thing I noticed in the photo is how intently the fans are watching the fight. Of course, in a Dempsey fight a knockout could occur at any moment so that is one possibility for their focus. I also believe they understood what was happening in the ring and appreciating the skills being displayed. 

I maintain that not only were the fighters better schooled in boxing’s Golden Age, but the fans were too. The majority of them understood the intricacies of the game. 

One last thing. Check out the shadows cast by Jack and Tommy. It is almost surreal. Art cast by two men practicing the art of boxing. Cool.

Review: Urinetown: The Musical At The Lyric Stage, Boston

It’s A Privilege To See

Urinetown: The Musical
The Lyric Stage Boston
140 Clarendon Street,  Boston
Through October 20

Reviewed By Bobby Franklin
Photos By Nile Hawver

Bobby Strong (Kenny Lee)

Urinetown: The Musical was an unlikely hit when it first appeared at the New York International Fringe Festival in 2001. Not only did it have, as the character Little Sally says, an awful title, it had been scheduled to move from Off-Broadway to Broadway just nine days after the attacks of 9/11. Many plays had folded or been canceled before opening when the theaters had to shut down due to that horrific attack.

Not only did Urinetown: The Musical open, it became a huge hit running for 965 performances and garnering three Tony Awards. It has worn well with time, though the lens through which it is seen has changed. Given that, it’s still a play that makes you both laugh and think.

The current run at the Lyric Stage in Boston is in keeping with that theater’s long standing success in bringing large scale productions to a small stage. As has been so often the case, the Lyric team often improves on the work while adding an intimacy that can only take place in a small theater. Urinetown: The Musical is no exception.

Director Courtney O’Connor, along with musical director Dan Rodriguez and choreographer Christopher Shin have worked their magic, along with some wonderful ingenuity, to give Boston a musical that is not to be missed.

“Not only funny, but highly entertaining and quite clever.”

So, what do you call a play with that awful title, that includes suffering, unbridled greed, government corruption, police brutality, and people struggling to come up with cash so they can use the public facilities to relieve themselves? Funny! Not only funny, but highly entertaining and quite clever. It is also not what it may appear to be at first. 

The people of an unnamed city are suffering under the heavy hand of Caldwell B. Cladwell (Christopher Chew), the head of Urine Good Company, a corporation that controls the limited water supply. Because of the water shortage, people are forced to pay large fees for The Privilege To Pee. 

Caldwell B. Cladwell (Christopher Chew)

Chew is terrific in portraying the greedy Cladwell with a caricature that both conveys the joy he brings in making money off of the misery of others while treading a line of making him almost likable. This comes across in  Don’t Be The Bunny where Cladwell tries to teach his daughter Hope (Elliana Karris) how to make it in the world.

Bobby Strong (Kenny Lee) works at the public facility under the watchful eye of Penelope Pennywise (Lisa Yuen). It is a dirty job but has its privileges, if you get what I mean. Ms Yuen’s Pennywise sets down the law with an iron fist in “It’s A Privilege To Pee”. You’d better have your money when it’s time for you to use the public facility or you will be sent to Urinetown, a place from where no soul returns.

Bobby begins to question his work when his father (Remo Airaldi) is sent to Urinetown as punishment for breaking the anti public peeing laws. It is upon learning of the elder Strong’s gruesome demise that Bobby is pushed over the edge and is compelled to stand up to the powers that pee, I mean be.

“Mr. Lee commands the stage in his role as Strong. His singing is sublime and his comic timing impeccable.”

Strong and Hope Cladwell fall in love while singing Follow Your Heart. Mr. Lee brings down the house while leading the cast in the gospel inspired Run Freedom Run. Both numbers bring laughs while also touching a deeper chord.  Mr. Lee commands the stage in his role as Strong. His singing is sublime and his comic timing impeccable. 

Bobby Strong (Kenny Lee) And Hope Cladwell (Eliana Karris)

Elliana Karris is amazing in her ability to bring huge laughs using just her eyes. This was necessary in one scene because her character was bound and gagged while being held hostage. Yes, I’m not kidding, it really is a funny play. 

 While Kenny Lee is a powerful force on the Lyric Stage, the rest of the cast is solid as well. There is not a weak performance among them. Lisa Yuen is commanding as Miss Pennywise. Paige O’Connor and Anthony Pires, Jr. as Little Sally and Officer Lockstock respectively serve as chorus in addition to their roles within the story. They are hilarious as they have constant back and forth about what makes a good musical. “You don’t want too much exposition.” Ms O’Connor is clearly in her element as Sally, while Mr. Pires can be scary as the heavy handed Lockstock, yet you can’t help but like him. 

Officer Lockstock (Anthony Pires, Jr.) And Little Sally (Paige O’Connor)

Urinetown: The Musical is both social commentary and satire. You will catch many take offs on musicals past, most notably Les Miz. There are also touches of Brecht and even William Shakespeare. Add into the mix that it is an ambiguous work as well. 

Throughout the first act the story seems to be a pretty formulaic one of evil corporations exploiting the helpless people of the city. However, as the story progresses we find it is more complicated than that. The challenge of dealing with a shortage of natural resources coupled with government corruption makes me think of how so many make sure a crisis should never go to waste. In fact, a crisis, when properly exploited, can be quite profitable for many.

In the twenty plus years since it has first appeared, trillions of dollars have been spent on dealing with climate change making billions of dollars for the well connected both in and out of politics. Has this solved the problem? As seen now, I believe that question can be one of the take aways from this musical. What at first glance was a fairly simple story really leaves the audience with much to ponder. It is not preachy, but rather provoking.

“Get to the Lyric Stage before it’s too late.”

Most importantly, Urinetown: The Musical is great fun. You will leave the theater humming the tunes you have heard as well as feeling connected to the characters. It’s a rare feat to portray not one, but two executions in a way that has the audience breaking into side-splitting laughter, but it happens here. What a terrific musical! Get to the Lyric Stage before it’s too late. You won’t be disappointed. And don’t worry, there won’t be too much exposition. Little Sally promises that to you.

Urinetown: The Musical
At The Lyric Stage, 140 Clarendon Street,  Boston
Through October 20
617.585.5678
www.lyricstage.com

Boxing and Ballet: My Interview with international Ballet Star (and former amateur boxing champion) Edward Villella

By 

Mike Silver

 “Boxing’s appeal is its drama and grace, a blizzarding grace that amounts to an impromptu, exigent ballet, especially in the lighter and nimbler weights. Hands, arms, feet, legs, head, torso—more is done per moment than in fast ice hockey; and since there is more motion, the athletes in other sports cannot surpass a consummate boxer for grace.” 

     –Edward Hoagland 

 

‘I’m not a fighter, I’m an artist. Boxing should be beautiful. . . . It should be like ballet dancing.’

Alexis Arguello

    

 

International ballet star Edward Villella hitting the heavy bag. Villella possessed the perfect physique for a dancer—or boxer.

Edward Villella began taking ballet lessons at the age of ten. He was an outstanding all-around athlete who also enjoyed boxing. In the mid-1950s he became the welterweight boxing champion of New York’s Maritime College and was undefeated in 20 fights. Several boxing managers expressed interest in signing him to a professional contract, but his love for dance was greater than it was for boxing. Edward Villella eventually gained international fame as one of the world’s premier ballet dancers. He became the lead dancer for the New York City Ballet under the direction of the legendary George Balanchine. Villella has won numerous awards including an Emmy, the National Medal of Arts and Kennedy Center Honors. He is the only American ever asked to dance an encore at the Bolshoi Theatre in Moscow. In 1985 he was named founding artistic director of the acclaimed Miami City Ballet and served in that role until 2012. 

 In 2005 Edward Villella agreed to be interviewed for my first book The Arc of Boxing: The Rise and Decline of the Sweet Science” (McFarland & Company Publishers). I wanted to ask this great artist how boxing compared to ballet since he had experienced and trained in both disciplines. The following is an excerpt from the book:

 Mike: I think you will agree that a properly trained boxer is built more along the lines of a buff ballet dancer like yourself rather than a tightly knotted bodybuilder or beefed up football lineman. I have been critical of a recent trend in boxing that emphasizes weight training for boxers similar to how professional football athletes use weights in order to increase poundage and add extra muscle to their physiques. I’d like to read you a quote from an old school trainer who disdained the use of weight training for his boxers: “Old time fighters had a sleek shape. They were not carrying extra weight through muscle. Fighters in the 1920s through the 1950s, heavyweights included, were trimmed down. They had long smooth muscles. There was no need to oxygenate big muscles.” Have you ever recommended weight training for your dancers?

“Boxers and dancers are finely tuned instruments. Lifting weights would not be good for them. It’s like putting sand in the gas tank of a Ferrari.”

Edward: I have never asked my dancers to do weight training. As dancers, we have long use of the muscle tone. We don’t want to short the muscle tone. We want speed and elasticity. I don’t think that you have to dismiss all weight training. You can exercise with four or five pounds, and you’d be surprised what that will do for you. When I was a dancer I’d occasionally put a one or two pound weight on either ankle. And then when I took them off my speed was just terrific, and my feet moved so quickly. And that’s what we need to do; we need our feet to move. Our feet are like a fighter’s hands. My great mentor George Balanchine said, ‘the floor upon which we dance is the music’, which is the timing…it’s the phrasing. The dancer does not stay in one rhythm. You have to move in and out, in and out, up and down, slow, fast, set it up, go, go, go. 

Mike: That is very similar to how a boxing match develops. Why do you think so many of the new breed of boxing trainers are bringing in “strength coaches” from other sports and are having the fighters lift weights far exceeding four or five pounds in the belief the added muscle will increase the fighter’s punching power?

Villella, like all professional ballet dancers, was a superbly conditioned athlete.

Edward:  Without a comprehensive understanding of your muscle tone and the purpose of exactly what it is that you want to accomplish with a weight training routine you could end up training against yourself. You don’t want the training to go against your talent. That is the thing you cannot do. You have to understand your talent and know how to feed it. And that is why I don’t want our guys to do that kind of thing. Guys are normally thicker muscle toned than women and I don’t want them to bulk up because they will lose that agility. Boxers and dancers are finely tuned instruments. Lifting weights would not be good for them. It’s like putting sand in the gas tank of a Ferrari. 

Mike: I agree. A properly conditioned boxer, or a professional dancer, is a fine-tuned instrument. Interfering with the machinery of that instrument by bulking up and losing agility is to be avoided. 

Edward: What we seek is to eliminate tension. If you train against that purpose it’s not going to work for you. For instance, if I were preparing our dancers for a style that requires very quick and light footwork their training would be different than what is needed to dance in the much slower 19th century Russian Grand Imperial style. There is heaviness to that style. The moves have a beginning and an end, and then you start all over again. Whereas in neoclassicism, which George Balanchine provides us with, the moment your heel got to the floor that was your propulsion for the next step, therefore the continuity of it had terrific natural connection. So you didn’t ‘stop, gesture, stop, gesture’.  It’s like when you watch a heavyweight. They wind up and throw a big punch but they have no combinations. These guys are huge and they have four yards of left jab but it’s just hanging on ‘em.  They can’t go low, high, down. They can’t get that jab working. Pump that jab. Work those combinations…boom, boom, boom (demonstrates by shadowboxing and throwing combinations). I relate to that kind of attack and speed. 

Mike: That is an interesting analogy. 

Edward: There is a whole connection about the approach to any physical gesture that we are about. It’s all totally connected and if you can be relentless in the way you approach these rotations, so that they are there and available for you any given second, you begin to dance instead of just doing a trick. And for me that is what differentiates fine dancing and fine fighting. It’s not enough that you’ve got a heavy right hand and a neat left hook and you throw two punches. There is more to it than that. 

Mike: I wasn’t aware there were so many different styles of ballet.

Edward: My dancers have a repertoire where we have to dance in probably five, six, seven different styles, seven different periods, seven different choreographic approaches. They have the variety and they have the broader horizon. That was the beauty of my growing up at the New York City Ballet, which had a phenomenal repertoire. I danced everything from Swan Lake to Tarantellas. You can’t get further away from being Oberon in Mid Summer’s Night’s Dream to being the Prodigal Son, or Apollo. So unless you can counter and balance off all of these other things you become a one trick pony.

Mike: Unfortunately, there are too many “one trick ponies” in boxing today who continue to follow the same pattern round after round without knowing how to make the necessary adjustments due to a lack of experience and quality instruction.  

Edward: Dancing, as George Balanchine said, is a conversation; I offer a hand, somebody gives me their hand. Do I hold the hand, or do I just use what is necessary?  For instance, if we are having a conversation I’m not going to shout at you the whole time. Nor am I going to talk like this (speaks haltingly). So you have to have all of those ups and downs, sideways, expansions, extensions, all of this kind of flexibility that constitutes the purpose that you are about. 

Mike: It sounds like you are referring to athletic intelligence which every great boxer must possess. I assume that is also true for a great dancer?

“You need dance intellect just as you need boxing intellect if you are going to reach your potential. You need the intelligence that relates to your talent. And if you can combine that talent and that intelligence you are so far ahead of the game.”

Edward: It’s really your mind driving your talent. So you need the talent and you need the mind that comes with the talent. It’s not like you’re trying to be a brain surgeon, but you need dance intellect just as you need boxing intellect if you are going to reach your potential. You need the intelligence that relates to your talent. And if you can combine that talent and that intelligence you are so far ahead of the game. So it becomes this mental exercise. I’m fond of saying our physicality is ‘mind driven’. It’s not just the talent. It is the mind analyzing the talent, and all of the nuances that are available can be used.

Mike: Both boxers and ballet dancers share fundamental requirements that include balance, coordination, rhythmic and fluid movement and precise timing. The most graceful boxer I have ever seen is Sugar Ray Robinson. At his best he possessed an almost ballet like grace and is generally acknowledged to be the greatest boxer of the 20th century. In fact, after his first retirement, Sugar Ray Robinson had a brief career as a professional dancer and he was pretty good at it. 

“Dancing, like boxing, is moving through balance…My favorite boxers are the ones who move and are beautiful to watch. The way Sugar Ray Robinson executed his combinations…the speed and accuracy…the timing aspect of it.”

Edward: Dancing, like boxing, is moving through balance. And the athlete that you remember is the beautiful dancing athlete. I once took a bunch of athletes and intercut them with dancers and made it into a whole one-hour show. It was called “Dance of the Athletes”. Joe DiMaggio covering center field. His swing when he was at bat. Ted Williams, Stan Musial, Frank Robinson. These, to me, were the athletes who were the dancers. My favorite boxers are the ones who move and are beautiful to watch. The way Sugar Ray Robinson executed his combinations…the speed and accuracy…the timing aspect of it…the way a good defensive fighter could stand in front of somebody and bob and weave and pull their chin back, maybe just a quarter of an inch, and the punch would miss them. To me, that is absolute talent, which is so practiced, so rehearsed, so completely understood it becomes a conditioned reflex.” 

Mike: You mentioned growing up in New York City in the 1940s and 1950s and that you were a fight fan. Do you still keep up with the sport?

The perfectly balanced Sugar Ray Robinson jabs Tommy Bell with ballet like grace during their 1946 title bout.

Edward: Unfortunately, with my schedule, I rarely get to watch the fights today, and I can’t follow them. There was a fight on the other night, but it was all one sided. Let’s face it; a lot of the matches today are awful. They’re mostly mismatches, and it’s all setting up for the big payday, and to me that’s not what it’s all about.

Mike: What are your earliest memories of boxing when you were growing up?

Edward: My father ran a trucking business in the garment center and his two closest buddies were former professional fighters. And they used to have poker games every Friday night and in the middle of the poker games the Friday Night Fights came on. Everybody stopped to watch the fights on TV and when it was over they went back to the poker game. I remember seeing great fighters like Willie Pep and Sandy Saddler, Tony Zale, Rocky Marciano, Carmen Basilio, Kid Gavilan and his ‘bolo punch’. I can’t even think of all the names now.

Mike: Did all the years you had ballet training give you an advantage when you boxed.

“When I was an amateur boxer in college I had a tremendous advantage because I had trained as a ballet dancer for about seven years. Therefore, my legs were mine. They were in terrific condition for boxing.”

Edward: When I was an amateur boxer in college I had a tremendous advantage because I had trained as a ballet dancer for about seven years. Therefore, my legs were mine. They were in terrific condition for boxing. I’d wait until the third round and by then my opponent would be standing on spaghetti legs (laughs). 

Edward Villella and Mike Silver meet after a performance by the Miami City Ballet at the Tilles Center in Long Island in 2008.

Addendum:

The best “dancer” among today’s top fighters is the current 135 pound champion Vasyl Lomachenko. He is a throwback to an era when mobile footwork was taught and emphasized as an essential element for offense and defense. Lomachenko and Villella have something else in common. Ironically, Loma’s father wisely insisted that his young son take ballet lessons for several years with a Ukranian dance company before being allowed to box. That experience gave the youth a “leg up” on the competition, so to speak. Loma’s amateur record was spectacular. He lost only one of 397 amateur fights and won consecutive gold medals in the 2008 and 2012 Olympics. He has also held multiple professional world championships from featherweight to lightweight. Perhaps all aspiring professional boxers should consider donning ballet slippers and start practicing pirouettes before learning how to jab and hook.

Mike Silver’s newest book, When in Doubt, Stop the Bout: A Revolutionary Approach to Boxing Safety and Reform(Hamilcar Publications) will be available in December 2024.                               Mike’s previous books include The Arc of Boxing: The Rise and Decline of the Sweet ScienceStars in the Ring: Jewish Champions in the Golden Age of BoxingThe Night the Referee Hit Back: Memorable Moments From the World of Boxing. 

When Doug Jones Fought The Other Clay

By Bobby Franklin

Jones Lands A Left Hook On Cassius Clay

Doug Jones is best remembered for his fight with Cassius Clay. The fight took place in 1963. It was young Clay’s 18th fight and the closest he would come to being defeated in his early career. 

At the time of the fight Doug Jones had an impressive record. While not undefeated, he had scored 21 wins in 25 contests. His losses were to Eddie Machen, HaroldJohnson (in a bid to win the World Light Heavyweight Title), and Zora Folley. He would avenge the loss to Folleywhen he kayoed him in 7 rounds. This was just before Jones took on Clay.

Jones also scored a kayo over a young Bob Foster. In another fight, he went to Europe, where he fought a draw with Erich Schoppner.

In total, Jones had 25 fights to Clay’s 18. Cassius had fought some decent opposition at this time as well, going up against Billy Daniels, Alejandro Lavorante, Charlie Powell, Archie Moore, Alex Miteff, and Sonny Banks. On paper, it appeared Jones had fought the better opponents and should have had the edge in experience on Clay.

Doug Jones

There was a difference, though. While Clay was fighting solid competition, he was being brought along thoughtfully. Yes, he was in with some tough guys, but they weren’t of the world-class status as Jones’s opponents were. In fact, if Jones had been guided in the same manner as Clay, his career might have ended up very differently.

In 1960 Doug Jones fought another fighter named Clay, Von Clay. This Clay was also an up-and-coming prospect. Jones had 13 fights at this point with 13 wins. Von Clay had a record of 11 wins, 1 loss, and 2 draws. The fight took place at St. Nicks Arena in New York with Jones winning a ten-round decision. The two were matched again three months later. This time it was a closer fight with Jones winning a split decision after ten rounds.

Von Clay

Here’s where it gets interesting for both fighters. Clay was still a good prospect but obviously not ready for the big time. However, after just two subsequent wins, his managers threw him into a title fight against the great Harold Johnson. Clay had only 18 fights at this point in his career, while Johnson had been to the post 71 times. Clay was dropped once in the first round and three times in the second, resulting in a knockout win for the champion.

After this loss, Clay was back in the ring just two months later. After being dropped in the first round, he kayoed Kirk Barrow in the sixth round. A month later, the two fought again, with Clay stopping Barrow in the fifth round.

Now, just a month after beating Barrow, and just three months after being kayoed by Johnson, Clay was matched once again with Doug Jones. This fight was scheduled for August 26, 1961 at Madison Square Garden. It would be Clay’s 6th fight in that year.

Meanwhile, since the second go-round with Clay, Jones had stayed busy and undefeated. He scored a kayo over former middleweight champ Bobo Olson, stopped Pete Rademacher, and kayoed Floyd McCoy.The third fight between Clay and Jones is available to watch on Youtube. It is an interesting fight in that you get to see two very good young prospects go at it. 

At the opening bell Jones came out, took control, and appeared on his way to a one-sided victory. Von Clay rallied in the 3rd and 4th rounds and evened the fight up. Jones regained control in the 5th round and began landing heavy shots on Clay, culminating in his knocking Von out in the 10th and final round. At this point Clay was an exhausted and beaten fighter.

Doug Jones Kayos Von Clay

It was not only the blows Clay took from Jones but also the toll that had been exacted on him in his fights leading up to this bout. He was a young fighter who was brought along much too fast and was already getting burnt out at this point in his career. In the final 17 fights of his career, he lost 10. A sad ending for a promising fighter.

Ironically, Jones’s career began to follow the same path as Clay’s after their third bout. In his very next fight he was put in with Eddie Machen. Interestingly, Jones was originally slated to fight Harold Johnson, but Johnson pulled out due to an injury. Machen won a one-sided decision in the fight.

Jones would then fight Johnson in his very next bout. This was for the title, with Jones losing a one-sided 15-round decision. You’d think Jones would be given a rest after all of these tough fights, but no. Just three months later, on August 8, 1962, he was facing top heavyweight contender Zora Folley. Once again, Jones lost though this fight was closer, with Zora winning a 10-round decision. Just a month later, Jones faced Erich Schoppner in Europe, resulting in a draw.

A month after that, he returned to New York and defeated the young Bob Foster. His intense schedule continued without pause. Two months later, he fought Zora Folley again and, in a surprising upset, knocked him out in the seventh round.

This led to his fight with Cassius Clay on March 13, 1963. Jones matched Clay’s speed and challenged him throughout most of the bout. However, Clay secured a close decision victory by finishing strong in the last two rounds.

At this point in his career, Doug Jones had only had 26 fights but was battle-scarred. He had been in with formidable opposition and taken quite a few punches. In the third fight with Von Clay you can see the great ability Jones had. He was an aggressive boxer-puncher with great head movement and terrific combinations. 

As good as he looked at that stage of his career, he was still developing and quite a ways away from being put in with the likes of Harold Johnson and Eddie Machen. If he had been guided more carefully, he very well might have beaten Cassius Clay in 1963. Alternatively, he also could have remained fighting as a light heavyweight and seen success in that division.

As good as he looked at that stage of his career, he was still developing and quite a ways away from being put in with the likes of Harold Johnson and Eddie Machen.

Unfortunately, Jones ended up becoming an opponent. He had name recognition because of the Clay fight, but he was pretty much through as a serious prospect. He had three wins after the bout with Cassius. In his fourth fight he lost a decision to Billy Daniels whom he had previously beaten. In his next fight he was kayoed by George Chuvalo.

The descent continued, with his only wins after that coming against second-raters. With losses to Ernie Terrell, Thad Spencer, Joe Frazier, and Boone Kirkman, Jones finally hung up the gloves in 1967.

Both Jones and Von Clay were talented and promising prospects. Their careers may very well have turned out quite differently if they had been managed better. Instead, they were thrown in for the quick money and never were able to fully develop. Unfortunately, their story was not an uncommon one in boxing.

James J. Braddock Vs Tommy Farr

Was Braddock’s Last Fight About Protecting

His Investment?

By Bobby Franklin  2.16.2025

Braddock And Farr Weigh In

A few years ago I wrote about the career of Tommy Farr and speculated on the reasons he was never given a rematch with Joe Louis.Link Here Farr had been the first man to challenge the Brown Bomber, and he gave the champion a go of it, extending Joe the full fifteen rounds. While Tommy wasn’t robbed, the fight was closer than most expected. The fact that Farr was still standing at the final bell earned him the respect of the fans and a second fight would certainly have drawn a crowd.

Of course, in that era fighters weren’t automatically given a second shot at the title. They had to beat another contender to earn their chance. Even Jack Dempsey had to defeat Jack Sharkey before being allowed to fight Gene Tunney a second time.

At first glance it appears the choice of James J. Braddock for a matchup with Farr makes sense. In Braddock’s last fight he had lost the title to Louis. In Jimmy’s case he was kayoed, so it was pretty decisive and the public was not clamoring for a rematch. But the match was still logical. It could also be assumed by the Farr team that Tommy would beat Braddock and then move on to a fight with Louis.

Things didn’t turn out as planned, or did they?

As I pointed out in my earlier article, the Louis fight was Tommy’s first appearance in the States. He was a bit naive about how the boxing game worked in this country at that time. He also didn’t know that in order for Louis to get the shot at Braddock, Louis’s managers had to guarantee Jimmy 10% of future earnings should Joe win the title. It was in Jimmy’s interest to have Joe remain champion for as long as possible. Off of Farr’s performance against Louis, Joe Gould, Braddock’s manager, could have seen Farr as a threat to that income. While a Farr return fight with the champ would have drawn a decent gate, the huge money was in Joe’s rematch with Max Schmeling who had kayoed him before he won the title. That fight was being negotiated at this time.

You can see there were some extenuating factors involved in the Farr/Braddock fight. It’s quite possible Jimmy’s management wasn’t confident he could beat Farr. However, if Jimmy lost, Farr would most likely get his Louis rematch. Alternatively, they could refuse the match and Farr could go on to beat another contender and earn his title shot.

So what other choices were there? Joe Gould, Braddock’s manager always had something up his sleeve. Contrary to the nice guy image of Gould portrayed by Paul Giamatti  in the movie Cinderella Man, Gould was a shady character. He knew how to navigate the dark side of boxing. 

Recently, I watched the existing footage of the Braddock/Farr fight. All ten rounds are available but are truncated. You can see about one to two minutes of each round. While not an exciting fight, it is interesting to watch against the backdrop of all that was at stake then.

The fight took place on January 21, 1938 at Madison Square Garden before a little over 17,000 fans. This was about six months after Braddock lost the title to Louis, and five months since Farr fought the champ. It would be Braddock’s final appearance in a boxing ring. 

Braddock (Left) And Farr

At the opening bell both men came out using decent left jabs. Farr was faster on his feet and moved in and out. Jimmy was content to stay at long range and would grab and hold whenever the two got to close quarters. The fact that Braddock was content to stay at distance also meant that his right hands were falling short of their mark. Why didn’t he step in more when throwing those rights? Why was Jimmy reluctant to mix it up inside? Farr wasn’t known as a tremendous puncher. 

To me it looked like Braddock didn’t want to take any chances on getting kayoed. He was a man intent on going the distance. By grappling with Farr on the inside he turned this into a fairly boring fight, one that makes both fighters look bad. 

Braddock Parries A Left Thrown By Farr

At the final bell, Braddock’s hand was raised in victory, though the crowd did not approve. Tommy, who never complained when he came up short against Louis, was incensed over the verdict. He said  “I was bloody-well robbed. I’ll get him again and a decision won’t be necessary.”

Farr never did get a rematch with Braddock. Jimmy retired after the fight content to collect on the revenue from Joe Louis’s fights. Incredibly, Joe Gould took over as Tommy’s manager. As I said, Farr was very naive about the boxing business on this side of the pond. His career was all downhill in the hands of the ruthless Joe Gould. 

I believe the decision in the Farr/Braddock fight was preordained. It was the perfect outcome for Braddock. He and Gould threw a wrench into any chance of a Louis/Farr rematch, thus protecting their investment. Gould had the where withal to influence the judges.

It has to be remembered that this all took place during the Depression. Boxing was a rough business. Fighters were in the profession to make money. Winning fights and titles was secondary. Lots of deals were made during that period. Braddock had a family to feed and they came first.

It is interesting to note that while being managed by Joe Gould, Tommy Farr lost every fight he had. In fact, Farr never won a fight in the United States. He lost to Louis, and then was beaten by Max Baer a fighter he had handled easily a year earlier. He then went on to lose decisions to Lou Nova and Red Burman before returning home to Wales. 

Back with his original management, he now returned to his winning ways. He fought a rematch with Red Burman getting the nod over twelve rounds. He then went on to beat Larry Gains, Manuel Kid Abrew, and Zachary Nicholas. At this point with WWII raging in England, Tommy retired. He did make a comeback in 1950 but that didn’t go anywhere.

I don’t fault Jimmy Braddock for any of this. He was one of the few to come out of boxing with money and his brains intact. Joe Gould on the other hand was a real sleaze. 

While Tommy Farr was a stand up guy, his decision to leave his Welsh manager Joby Churchill and go with Joe Gould was a catastrophic mistake. For all I know, Churchill may have encouraged him to do this believing Gould would be able to open doors for him. Instead, he got the door slammed on his career. 

Bernard Hopkins’ Brutal Truth About A Brutal Sport

Former Champ Speaks Out About The Brain Damage Suffered By Ali

And Warns Against Choosing A Career In Boxing

By Bobby Franklin, March 9. 2025

“The price one pays for pursuing any profession, or calling, is an intimate knowledge of its ugly side.”  James Baldwin

Recently, I came across comments made by Bernard Hopkins in a 2014 interview with BBC Sport. I was surprised at what he said but also pleased to see how honest he was about the sport of boxing, and more so by his willingness to mention Muhammad Ali as an example of why young people should not take up boxing. 

Here’s what he said:

“I would never want anybody I care about to box. In fact, I would tell my worst enemy’s kids not to box. I don’t believe that the body, especially the head, was made to be hit. So if any of your kids or grandkids want to box, distract and discourage them early. You want to teach kids about the dangers of violence on the streets? Take them to the morgue, let them see the victims of gun crime. You want a kid not to smoke crack? Show him a crack-head. Your kid wants to box? Start off by showing him Muhammad Ali.”  Bernard Hopkins, BBC Sports, April 17, 2014

“You want a kid not to smoke crack? Show him a crack-head. Your kid wants to box? Start off by showing him Muhammad Ali.”

Hopkins spoke the truth. For too long boxing has been romanticized, and the damage it has done to those who participate in it has been downplayed. While studies have been done, books written, and documentaries made about the tragic fate that awaits the majority of boxers at the end of their careers, little if anything has been done to stop this carnage. 

I write about the history of the sport and those figures who became well known because of their careers in the ring. When doing research for each column I pen about these men who spent years in the ring I inevitably find that most ended up suffering from dementia caused by the punches they took during the time they spent in the ring. There is even a name for the affliction visited on them because of the sport: Dementia Pugilistica. Today it is more commonly referred to as CTE (Chronic Traumatic Encephalopathy).

The condition also happens to those who are active in other sports, most notably football, but boxing is the only sport where the cause of CTE is the very object of the game. 

In boxing, the way to win is by inflicting head injures on the opponent.

In football where there is also a high rate of brain damage as a result of the hits the players take on the field, the point of the sport is to score more points than the opposing team in order to win. In boxing, the way to win is by inflicting head injures on the opponent. The ultimate victory comes via a knockout which is a concussion. A concussion is a brain injury, and brain injuries are cumulative and progressive. 

For an example of just how awful it is watch “Anyone Seriously Considering Being A Boxer Should See Jerry Quarry” and look at what happened to this once top rated heavyweight and how he ended up after a career in boxing. It’s both heartbreaking and sickening to see what happened to this highly intelligent man. It’s also infuriating to know that he got this way while being paid to entertain people.

There is another prime example of what this sport does to even the most gifted of its practitioners. I am, of course, speaking about Muhammad Ali. While in Jerry Quarry’s case his family wanted it to be known what happened to him in hopes it would discourage others from suffering the same fate. With Ali, excuses have been made for how he ended up. The most popular being that he suffered from Parkinson’s Disease which supposedly would have happened even if he had never boxed. To believe Ali’s brain was not damaged by the thousands of blows he took to the head is ridiculous. To try to hide it from the public is doing  a disservice to our youth who may be thinking of making a career in this cruel profession. 

Propagating this myth has done much damage. Instead of convincing people that the thousands of blows Ali took to the head had nothing to do with the horrible condition he ended up in, they could have been forthright and told the world that no matter how great you are in the ring, this is the fate that will likely await you from the damage you will receive when making a career out of boxing. This would have been the noble thing to do, and it would not have taken away from the champ’s accomplishments in the ring. In fact, it would have enhanced his reputation.

This is why I was pleased to read the quote from Bernard Hopkins. Sure, it can be said Hopkins owes everything he has to boxing. His life was tragic with years spent in prison, and boxing was his ticket out. But most young people who take up boxing aren’t in such dire straits. Also, what does it say about us as a society when we celebrate boxing as the best career choice for troubled youth? We really can’t come up with better options?

Bernard Hopkins so far seems to have come out of the sport with his faculties intact, though he remained active for way too long. But what of the Jerry Quarrys of the sport? Even worse, what of the thousands of fighters who never made any money but still suffered the same fate? I can name dozens of them. Was boxing their ticket to  a better life? 

Bernard Hopkins is right and his comments should be widely circulated. The time has come to stop encouraging young people to practice a sport that harms their brains. They have better choices. It’s really a shame the legacy of Ali hasn’t been used to help prevent the brain damage that happened to him from happening to others. We need more people like Bernard Hopkins speaking the truth about the dangers of the sport of boxing, and fewer people making excuses for the way Ali ended up.  It’s time to end the Myth of Ali.

 

 

When Boxing Was Up Close And Personal 

Review:

Cleveland Arena 

Ohio’s Professional Boxing Mecca

1937-1973

Arcadia Publishing

By Jerry Fitch

Reviewed by Bobby Franklin March 16, 2025

 

Version 1.0.0

It’s hard to believe today in this age of pay-per-view boxing, but there was a time when people would actually go on a regular basis to a local venue to watch live in-person boxing matches. Most cities, and even smaller municipalities had places where fights were held frequently. The 1930s and 1940s were really the heyday for well attended local fight cards.

In the 1950s, with the advent of television and with most homes having a TV set, the smaller fight clubs were being hurt. Not only were fights being broadcast up to four times a night weekly, but there were plenty of other popular televisions programs that had people hooked. This alternative also cut into other entertainment business such as movie theaters and nightclubs, but I would argue boxing was hit the hardest. 

One by one the smaller clubs started to disappear. Not only was the lack of paying customers causing a problem, but the people promoting the televised fights were moving fighters along quickly in order to keep their fight schedules filled. This resulted in many boxers being put in over their heads early in their careers, resulting in their never being able to develop to their full potential.

The lack of local venues also meant less opportunities for those just starting out to find work. Because of this, many boxing gyms disappeared as well. The lack of gyms resulted in their being fewer and fewer boxers able to move up into the professional ranks. This shortage would eventually take its toll on the televised fights. The weekly TV fight cards started to be cut.

Today, boxing is run more as an entertainment industry, or perhaps more in line with something like professional wrestling. It is driven by social media and marketing experts. Fans will pay to watch hyped up fights on pay-per-view, but most don’t follow closely the careers of the participants, especially from their early careers. They are sold on the hype. The sizzle, not the steak.

Reading boxing historian Jerry Fitch’s book Cleveland Arena: Ohio’s Professional Boxing Mecca 1937-1973, brings us back to that time when fight fans could buy a reasonably priced ticket to see highly talented fighters compete. Undercards would often showcase local up and comers while the semi final and main events would consist of solid pros in competitive contests.

The Cleveland Arena with a seating capacity of 14,000 for boxing was one of those places. It was in operation for 36 years, and the rise and decline of boxing is mirrored in it’s history.

Mr. Fitch has compiled a complete listing of every card that took place in this storied location. In this beautiful book he has supplemented his listings and brief commentaries on these cards with an incredible collection of photographs of the fights and fighters who fought there. The photos are from the author’s personal collection as well as from the archive of the Cleveland Plain Dealer. Many of these photos will be new to long time fight fans, and are to be treasured.

The list of great and near great fighters who fought at the Arena is endless. There are also some interesting things to note. In particular, Jake LaMotta fought there four times but had only one win, that being in his final fight at the venue.

In the 1930s when the Arena was first in operation, had you been attending shows you would have gotten to see Henry Armstrong make three title defenses. 

Lloyd Marshall

The Cleveland Arena really hit its stride in the first half of the 1940s. From 1940 to 1944, all-time great Jimmy Bivins headlined 23 cards. Others to step into the ring during this period were Tami Mauriello, Lloyd Marshall, Ezzard Charles, Abe Simon, Billy Soose, and Joey Maxim to name just a few. It is staggering to think that if you lived in the Cleveland area at that time you could have purchased a reasonably priced ticket to see this remarkable talent in person. 

Mr. Fitch chronicles this history with precision along with the affection he has for the sport that he has followed since he was very young. Over his lifetime he has met just about every noted boxer as well as becoming close friends with many, most notably Jimmy Bivins.

The book takes us on a thrilling ride, with the excitement of those early years leading to the sadness of seeing the local boxing scene start to fade in the 1960s, with only 11 shows being promoted in that decade.That was quite a drop from the 37 shows held in the 1950s. This decline was not confined to Cleveland. It was happening all over the country. Fight fans attending Cleveland Arena fight cards still got their money’s worth in those final years as they saw cards headlined by the likes of George Chuvalo, Zora Folley, Joey Giardello, and Doyle Baird. 

1973 saw the last of the promotions at the Cleveland Arena. Local boxing was on its last legs by then, and there was no stopping the inevitable. The remaining cards headlined some future contenders and champions such as George Foreman, Ken Norton, along with former champs Floyd Patterson, Emile Griffith, and Ernie Terrell. Boston boxing fans may also remember that one of our own, Mike Pusateri traveled to Cleveland to beat local favorite Doyle Baird. Baird came back to defeat Iron Mike in two rematches. All three were very exciting fights.

Jerry Fitch Flanked By Jimmy Bivins And Sandy Sadler

Jerry Fitch’s history of the Cleveland Arena is a must have for any boxing library. The historical information is invaluable, and the photos are something to be treasured. This is not a volume to remain on the shelf, but one to be left out where it can be perused over and over. While dipping into it you can close your eyes at times and hear the roar of the crowd and smell the cigar smoke that was ever present in those days gone by. It was quite different from sitting on your sofa watching fights on a big screen TV.

While Jerry has worked tirelessly to bring those days back to us, I think I would add a final line to this volume; “You had to be there!”

Copies of the book may be purchased directly from Jerry Fitch. His email is Jerryfitch1946 [at] gmail [dot] com

Was Banning Ali From Boxing Good For The Sport?

A Silver Lining In The Cloud Over Ali’s Suspension

By Bobby Franklin

Muhammad Ali And Joe Frazier In 1967

With the recent passing of former heavyweight champion George Foreman, we are hearing much said again about the 1970s being the Golden Age of Heavyweight Boxing. To be sure, it was an exciting time for the division, and boxing fans have a lot of fond memories of that time. But how and why did it happen?

Muhammad Ali was back on the scene after having been banned from the sport in 1967 for refusing induction into the United States Army. He was sidelined for three years before returning in 1970. In 1971 he took on Joe Frazier who now was recognized as the champ. Their epic battle lived up to its billing as The Fight of The Century. This started a decade of very interesting and exciting fights.

At first it appeared that the ban on Ali performing in the ring would hurt boxing. In fact, in a backwards way, it was a shot in the arm for the heavyweight division. Before he was denied access to the ring, Ali had been cleaning out the ranks of top heavyweights. His blinding speed and phenomenal reflexes were too much for the slower moving contenders. There was really no one left who was considered a serious threat to the champion. 

Ali was a very active champ. After defeating Sonny Liston for the title in 1964, he didn’t remain idle. He put the championship on the line nine times. He had five defenses in 1966 alone, and started 1967 with two fights by March before being suspended.

Ali had finished off most of the old guard of the division with his wins over Sonny Liston, Floyd Patterson, Cleveland Williams, Ernie Terrell, and Zora Folley. He traveled to Europe where he took on the best that continent had to offer in Brian London, Henry Cooper, and Karl Mildenberger. He crossed the border to Canada to win over George Chuvalo. Who was left?

Promoters would have had to start rushing the younger contenders into challenging the champ. None were ready to go up against Ali.

There were a number of young contenders on the scene at this time. These included Jerry Quarry, Thad Spencer, Manuel Ramos, Oscar Bonavena, Leotis Martin, Jimmy Ellis, and 1964 Olympic Champion Joe Frazier. Floyd Patterson and Sonny Liston were still active but there was no interest in seeing Ali face these two former champs again. Ernie Terrell was a bridge from the older contenders to the current ones, but Ali had also beaten him in a one sided fight, so again, not much interest in seeing a rematch. Promoters would have had to start rushing the younger contenders into challenging the champ. None were ready to go up against Ali.

This is where the three year exile of Muhammad comes into play. It allowed these younger fighters to gain experience. While a Joe Frazier/Muhammad Ali fight would have been a draw in 1968 or 1969, it would not have been a fight where Frazier would have been considered to have had much of a chance. By 1971 when the two did finally meet, it was a different story. 

Another thing happened during this time. The WBA (World Boxing Association) held a tournament to find a successor to Ali. Joe Frazier refused to take part, but the other leading contenders did. They were Jimmy Ellis, Floyd Patterson, Thad Spencer, Leotis Martin, Ernie Terrell, Oscar Bonavena, Jerry Quarry, and Karl Mildenberger.

The three men who had challenged Ali didn’t make it out of the quarter finals. Patterson lost to Quarry, Terrell to Spencer, and Mildenburger to Bonavena. In the other quarter final match  between two younger fighters, Jimmy Ellis beat Leotis Martin. The semi-finals became a battle of the rising stars with Ellis beating Bonavena and Quarry stopping Spencer.

In the final, Jimmy Ellis won a close 15 round decision over Jerry Quarry. This gave him the WBA Heavyweight Crown. The tournament, which had been broadcast live on home TV, gave all of these young fighters much public exposure. None of them embarrassed themselves, and they all gained fans.

Meanwhile, Joe Frazier had taken on Buster Mathis in a fight that was recognized as being for the title by the commissions in New York and Massachusetts. Frazier proved to be as active a champ as Ali had been. Joe defended his piece of the title six times between June of 1968 and November of 1970. In his fifth defense he fought a unification fight with Jimmy Ellis, stopping the WBA Champ when Ellis couldn’t answer the bell for the fifth round. 

At this point, Ali had announced he was retiring and giving up the title since he wasn’t allowed to fight. Ring Magazine, which had stood by Ali, now recognized Frazier as champion. The public also now pretty much accepted Joe as the one champion. 

But as with Ali, Frazier was facing a dearth of suitable challengers. He had already beaten Chuvalo, Ellis, Quarry, and Bonavena. Young contenders such as George Foreman and Mac Foster were not considered ready for a shot at the hard punching champion. 

Fortunately, in 1970 Ali regained his license to box. He took on Quarry and Bonanvena, defeating both. This led to the showdown between two undefeated men, both of whom had legitimate claims to the title. This had never happened before. Both men also received 2.5 million dollars for the fight, an unheard of sum at the time. 

Boxing was now entering a new age of exciting fights and huge paydays. More young contenders joined the current crop. Those who had lost fights were able to reestablish themselves. Often they fought one another in competitive battles. One of the things that made this era so exciting was the fact that with so many of these matchups, no one could be sure who would win before hand. It was the fact that so many of the fighters from that period were on a par when it came to ability that made so many of these contests interesting. 

It was a new day for the heavyweight division, one that would last over a decade. But could this have happened if Ali had not been exiled? I very much doubt it.

While not allowing the champ to defend his title while his case was being heard was morally wrong, it did allow for a break in which the division was able to grow. Normally, it would have been seen as a blow to the game, but it turned out better for all involved. Fans got to see competitive fights, the fighters got much bigger paydays, and we still ended up with one recognized heavyweight champion even though the title changed hands a number of times. 

I certainly am not trying to justify the taking of the title from Ali, but rather just reflecting  on what happened back then to find a silver lining.

A Double Tragedy: Two Boxing Fatalities on the Same Fight Card

What Went Wrong—And How to Fix It
By Mike Silver 10/22/2025

(Note: Some of the material in this article is excerpted from Mike Silver’s new book, When in Doubt, Stop the Bout: A Revolutionary Approach to Boxing Safety and Reform).

Never in the entire 133-year history of modern gloved boxing, have two fighters on the same card died from brain injuries sustained in separate bouts. Yet that unprecedented milestone was reached on August 2, 2025, in Tokyo, just nine weeks after another Japanese fighter collapsed into a coma after a bout in Osaka.

Yes, boxing is a dangerous sport but what happened in Japan was not unavoidable. These tragedies were the foreseeable result of negligence, incompetence, and corruption—resulting in a form of legalized manslaughter. 

The Warning Sign: Ginjiro Shigeoka

The chain of events leading to the Tokyo double fatality began months earlier. On May 24 in Osaka, former IBF light flyweight champion Ginjiro Shigeoka (11-1) lost a punishing 12-round decision to Pedro Tadura (17-4-1). Video of the fight shows Shigeoka absorbing a sustained head beating, especially in the final three rounds. Moments after the bell, he collapsed. Surgeons removed a subdural hematoma from the right side of his brain. He remains in a coma.

That fight should never have taken place. Ten months earlier, Tadura had taken the title from Shigeoka in a savage ninth-round stoppage. Twice the referee nearly halted it before finally stepping in. Shigeoka collapsed unconscious in his corner and required surgery for a fractured orbital bone. He had suffered a severe concussion.

The Japanese boxing commission should not have allowed him back into the ring for another fight against the same opponent. Considering the crude style and limited experience of both fighters, a repeat of their first slugfest was inevitable. The rematch would almost certainly guarantee another head beating for the doomed fighter. Which is exactly what happened. The only difference between the first and second fight was this fight went the full 12 rounds. It is a medical fact that a brain rendered fragile by a previous concussion is more vulnerable to catastrophic damage from a second concussion.

Shigeoka was cleared by the boxing commission to fight, but he was “damaged goods”—an accident waiting to happen. His best chance for survival would have been for the commission to limit the scheduled distance to not more than eight rounds—a distance more suitable to his limited experience and defenseless style of fighting. 

The boxing commission’s failure to protect its fighters is not unique to Japan—it is an international problem, repeated too many times with too many fatal consequences.

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Fight One 

On August 2, super featherweight champion Yamato Hata (17-2) defended his Oriental and Pacific Boxing Federation title against Shigetishi Kotari (8-2-1). Both men weighed 130 pounds. 

Shigetoshi Kotari (right) trading punches with Yamato Hata.

Kotari had just 11 professional bouts. In an earlier era, he would have been a six-round preliminary fighter—not a title challenger. Yet today’s alphabet soup of sanctioning bodies routinely crowns champions with 10 to 15 fights, giving promoters a belt to market and fighters a dangerous distance to endure.

Kotari fought evenly for eight rounds, but fatigue and punishment mounted. Judges’ scorecards reflected the shift—he lost nearly every round from the ninth through twelfth. The heaviest damage came in those “championship rounds.” He collapsed in the dressing room, underwent brain surgery, and died a week later.

Had the fight been capped at eight rounds, Kotari would have likely survived. 

Fight Two: A Rock ’Em, Sock ’Em Slugfest

The same card’s preliminary bout was just as deadly. Lightweights Yoji Saito (8-4-2) and Hiromasa Urakawa (10-3) fought toe-to-toe for eight brutal rounds, trading nonstop headshots like mindless robots. Defensive skills were virtually absent, including very little body punching, no footwork, and no slipping or parrying of punches. The strategy (or lack thereof) was basically “you hit me, now it’s my turn to hit you”. 

Both men took an inordinate amount of punishment, absorbing hundreds of blows to the head. But no doctor entered the ring between rounds to examine the fighters. 

In the closing seconds, Urakawa was knocked out and became unconscious. Despite emergency brain surgery, the 28-year-old never regained consciousness. Once again, too many scheduled rounds killed a fighter. Had it been a four, or five-rounder, Urakawa would almost certainly be alive.

Systemic Failures

These tragedies are not isolated—they stem from the following systemic failures:

1. Too Many Rounds for Too Little Experience

Statistics compiled from the Manuel Velazquez Boxing Fatality Collection show bouts longer than five rounds increase fatality risk by 70 percent. The fifth round should be considered an important demarcation. Also, a third of all deaths since 2000 occurred in the final scheduled round. Yet inexperienced fighters are constantly thrust into 10- and 12-round “title” fights for the sake of marketing and to provide the nefarious “sanctioning organizations” with thousands of dollars in fees taken from the fighter’s earnings for the “privilege” of fighting for the organization’s title belt. 

2. Collapse of Standards and Skills

From the 1920s through the 1970s, fighters averaged 50–70 pro bouts before a title shot. Today’s champions often have fewer than 20. The problem is compounded by a lack of qualified trainers capable of teaching the finer points of boxing technique. With most of today’s pro fighters averaging only two to four fights a year, most never get the opportunity to develop and craft an effective defense on their own. Instead, fight after fight (and presumably when sparring in the gym) they engage in artless brawls devoid of strategy or adjustment. Every round looks exactly like the one that preceded it.

3. The Dehydration Madness

His swollen and battered face a testament to the beating he received, ill fated Shigetoshi Kotari leaves the ring after losing a 12 round decision. He collapsed in the dressing room shortly after this photo was taken.

Since weigh-ins moved to 24–36 hours before fights, too many boxers starve and dehydrate themselves to make weight, then binge to rehydrate. But the brain can’t rehydrate in a day. Dehydration reduces cerebrospinal fluid, the brain’s cushion against trauma, increasing the risk of catastrophic injury. In addition, a dehydrated fighter cannot perform with the same quickness and precision and will tire in the later rounds, making it more difficult to avoid punches. It is not clear whether weight cutting was a factor in the bouts mentioned in this article.

Legendary referee Mills Lane once made this observation: “Have you ever heard of a heavyweight dying of a subdural hematoma? I haven’t. It’s always the little guys—the featherweights and lightweights—because their handlers dry them out, starve them, then pump them full of water and food. What they’re really doing is setting that fighter up for injury.”

Statistics back up Mill’s observation. A study published in the January 2022 issue of Combat Sports Medicine, published by the Association of Ringside Physicians, found that sixty-two (75 percent) of eighty-three fighters fatally injured between 2000 and 2019 weighed between 108 and 135 pounds. According to BoxRec.com, 43 percent of all known professional bouts at that time involved fighters in the lightweight class (135 pounds) or lower. 

The study offered no explanation for the disproportionally higher number of deaths in the lighter weight divisions, but it is possible that fighters weighing between 108 and 135 pounds average more punches per round than their heavier counterparts, resulting in more sustained and repetitive head punishment. The punches of lighter-weight fighters may not look as heavy or powerful as a middleweight’s or heavyweight’s, but they may be doing more damage because of their number. 

It is also important to consider the fact that boxers in lighter weight classes (108 to 135 pounds) generally cut a higher percentage of their total body weight than those in heavier divisions, such as middleweight and light heavyweight. While fighters across all weight classes may aim to cut a similar number of total pounds, that amount represents a larger percentage of body mass for smaller fighters.

Reform Is Possible—If There’s Will

To reduce deaths and brain trauma, boxing must adopt the following reforms now:

  • Eliminate 12-round fights. Restrict most matches to 4–6 rounds. Reserve 8–10 only for elite, well-matched fighters.
  • Restore same-day weigh-ins. Fighters must weigh in within 10 hours of fighting to end the dehydration cycle and be encouraged to fight at their natural weight.
  • Suspend defenseless fighters. Boxers who consistently absorb excessive head shots, win or lose, should be barred until demonstrating improved defense.
  • Improve education and oversight. Referees must be trained to recognize concussion and have greater confidence in knowing when to stop a fight. Every ringside doctor must also receive adequate neurological training and not hesitate to examine one or both fighters after a particularly punishing round.
  • Limit the authority of the sanctioning organizations. Commissions must stop ceding authority to alphabet groups that invent titles and sanction mismatches for profit. What must end is the proliferation of fake “titles” that lure inexperienced fighters into dangerous 10- and 12-round bouts.

The Historical Perspective

From the early 1900s to the 1960s, fighters like Kotari or Urakawa would have been considered promising prospects with much to learn. No competent manager or responsible boxing commission during that era would have agreed to a 10- or 12-rounder after just a handful of bouts. The proliferation of fabricated “world titles” has dangerously distorted matchmaking today, with often fatal consequences.

The evidence is overwhelming: shorter fights save lives. The Association of Ringside Physicians has confirmed it. The Velazquez Collection confirms it. The history of the sport confirms it. 

The Real Enemy

Boxing did not kill these men. Greed, negligence and incompetence did. The usual suspects are easy to identify. They include noxious sanctioning bodies that continually invent new titles to generate additional fees; promoters eager to sell them; incompetent referees and doctors who are slow to act; negligent boxing commissions incapable of enforcing effective safety measures. 

All the above created the circumstances that made these deaths inevitable. New reforms and stricter rules, including reducing the number of rounds, will not eliminate all risk—but they can dramatically reduce deaths and brain trauma.

The alternative is more of the same: more funerals, more shattered families, more empty words about “warriors who died doing what they loved.”

Enough is enough.

End

Mike Silver’s new book, When in Doubt, Stop the Bout: A Revolutionary Approach to Boxing Safety and Reform should be mandatory reading for everyone who cares about boxing and the fighters who put themselves at risk.

 Did Young Cassius Clay’s Stolen Bicycle Seal Liston’s Fate?

By Bobby Franklin 11.17.2025

Young Cassius

Legend has it that a 12 year old from Louisville, Kentucky was drawn to a boxing gym so he could learn to box in order to punish the person who stole his brand new bicycle. He never did find the bike or the thief, but that fateful event set the course for Cassius Clay, later Muhammad Ali, to go on to become one of the greatest heavyweight champions of all-time, as well as an iconic historical figure. But what if his two-wheeled transport hadn’t been absconded with? Would he have gravitated to another sport? Seeing that he also enjoyed drawing, would he have followed in his father’s footsteps and become a sign painter? 

Fate is a funny thing. Small events in people’s lives can result in huge consequences. Ali’s life is one example of this. It is also true that all our lives are intertwined with one another. What happens to one person can effect many others, even millions. This can be positive or negative, and I am sure you can pretty quickly come up with names both good and evil that have, by a stroke of happenstance, caused someone to achieve a position of power or a place where they can influence events.

I will not go into the ramifications on all of mankind for such things. Rather I will focus on what may have happened in the career of one man had the events surrounding a stolen bicycle of another had not occurred.

The Fastest, Prettiest Man On Two Wheels

After the retirement of heavyweight champion Rocky Marciano in 1955, there was a void in boxing’s most cherished title. As often happens when a great champ steps down, his shadow lingers, making it difficult for the excitement to return to boxing. In the case of the post Rocky days, this was exacerbated by the fact that the man who became recognized as his successor refused to take on the leading contenders. 

After winning the vacant title with a suspicious kayo over Archie Moore, Floyd Patterson was protected by his manager Cus D’Amato against anyone who might prove a real challenge to the tile holder. Instead of giving shots to such men as Zora Folley, Eddie Machen, and Cleveland Williams, Cus chose to put him in with the likes of Pete Rademacher who was getting a title shot in his first professional fight, as well as two unranked challengers in Brian London and Tom McNeeley. Hardly the opposition expected of a world heavyweight champion.

Brought Together By Fate

Most notable among those being avoided was Charles Sonny Liston. In fact, Liston was fast becoming the de facto champion by facing and beating the top heavyweights. He beat Cleveland Williams twice, Eddie Machen, Zora Folley, and Nino Valdez. Everyone, including Floyd, knew Sonny was long deserving of a title shot. 

The public also knew Liston deserved a chance at the crown, but they also were not in love with him as he had a pretty shady background. Of course, boxers have never been graduates of finishing schools, but Sonny was a rough customer even by pugilistic standards. 

Sonny would eventually get his chance and prove his superiority by knocking out Floyd in one round in 1962 and then again in 1963, also in the opening round.

As 1963 was closing out, Liston was looking at a list of top ten contenders that hardly made him nervous. He had already beaten four of them, Cleveland Williams, Zora Folley, Floyd Patterson, and Eddie Machen. He beat Williams and Patterson twice. 

The rest of the pack consisted of Doug Jones, Ingemar Johansson, Robert Cleroux, Billy Daniels, Archie Moore, and Henry Cooper. Oh yes, and that kid who was mad about his stolen bike, Cassius Clay. 

Out of this group Clay had beaten Jones and Daniels. Moore and Johansson would soon retire, Cleroux would lose to Folley, and, as he wrote in his autobiography years later; Cooper said he would never have fought Liston because he knew he had no chance against him and feared being seriously injured.

Nobody Stole Sonny’s Bike

It was slim pickings and nothing to excite the fight fans. Clay did manage to stir interest in a challenge to Sonny by the shear force of his powerful personality. History was made as Clay, soon to become Ali, scored one of the biggest upsets in boxing history to win the title. It turns out the fate that set him on the road to boxing stayed with him in the fight with Liston. Boxing history would be changed forever.

But what if things had been different? What if Clay had not become a boxer? What would a Liston championship reign had looked like. It can be conjectured that another upset may have occurred. Perhaps Sonny would have underestimated  one of the contenders and come in out of shape and been taken. Looking at the opposition he would have been faced with over the next few years, I’m doubtful even an out of shape Liston would have been beatable. A Cassius Clay is not someone who comes along everyday. This was a very rare human being who combined skill, athleticism, and supreme confidence. 

Liston would have ended up fighting many of the same men as Ali did with the exception of Henry Cooper. He would not have stepped in with three of those who faced Muhammad, Williams, Patterson, and Folley because he had already twice stopped Cleveland and Floyd, and kayoed Folley once.

That leaves George Chuvalo, Brian London, Karl Mildenburger, and Ernie Terrell, the other four men, bedsides Liston, that Ali defended against.  I doubt anyone believes any of these challengers would have stood a chance if put in with Sonny. The only one I see possibly going the distance is Terrell, and that would be in a fight that would have had a lot of grabbing and holding by the challenger.

No doubt, London and Mildenburger would go out early. Chuvalo likely would have had his first loss by stoppage on account of cuts and swollen eyes.

By now Liston would have been aging, but the next group to face him would have been not terribly experienced and not ready for prime time. Would a young Jerry Quarry, Joe Frazier, Oscar Bonavena, or Thad Spencer have had a chance. Not likely, unless Sonny had started to really falter.

This may surprise you, but the one out of that young crop of fighters at that time whom I believe would have had the best chance was Jimmy Ellis. Ellis is a vastly underrated heavyweight who had the speed to give Liston trouble along with a tremendous right hand that would have given Sonny pause. Set this fight at around 1968 and it proves interesting. I’m going to give it some thought and perhaps explore what would have happened in a  future column.

In the meantime, don’t be afraid to tempt fate; you never know where it may lead you.

Can Boxing Be Made Less Dangerous? Mike Silver Believes So And Proposes A Formula

Review:

When In Doubt,

Stop The Bout

A Revolutionary Approach To

Boxing Safety And Reform

By Mike Silver 

Hamilcar Publications

Reviewed By Bobby Franklin, December 2, 2025

It has often been said that unlike other sports, you don’t play boxing. True. Boxing is a unique competition in many ways, but there is one primary aspect of it that makes it truly different from other athletic endeavors; the requirement that in order to be successful, a boxer most become proficient  at inflicting physical damage, even brain injuries, on his opponent. This some times leads to death, and more often, too often, to CTE (Chronic Traumatic Encephalopathy).

While it is true that participants in other sports, most notably football, also risk severe brain damage from concussive trauma, boxing is the only sport where success is measured by how well a person is able to become in causing physical harm to the person with whom he is competing. There is no getting away from this.

Can boxing be made safe? Not unless it is banned. Can boxing be made less dangerous? That is the question boxing historian Mike Silver tackles in his deep dive into reforming this hazardous sport in When In Doubt, Stop The Bout A Revolutionary Approach To Boxing Safety And Reform.

Mike has done extensive research into the subject of boxing safety. He has  accumulated statistics dealing with the number of boxer deaths over the years as well as what effect the length of a fight has on increasing the risk of one or both of the participants being seriously injured. 

Mike Silver

Early in the book Mike comments on how the lack of regulation plays a role in putting the fighters at risk. He rightly observes that to become a boxing trainer in most locales around the world, all you have to do is walk into a gym, throw a towel over your shoulder and say you are a boxing coach. This is criminal. Young kids with an interest in boxing are put into a situation where when they first walk into a gym they are trusting someone who can get them killed. Where’s the oversight? There is none.

Mike spends time later in the book exposing the corruption higher up the ladder in the boxing world. From the alphabet soup organizations to promoters such as Don King. In 1997 King was inducted into the International Hall Of Fame, an action that speaks to just how low the standards are in boxing.

Reading about the sordidness and corruption in the sport may leave the reader with a terrible stench in his nostrils, but that is just one section of the book. Mike saves his best when offering up ways to mitigate the dangers faced by pugilists. They all have merit even though a few sound counterintuitive.

Take the case of the boxing glove. It has become dogma in the minds of most people that the padded covering for the hands prevents head injuries. Mike makes a strong case, one which I have long believed, that the glove actually makes the sport more dangerous and the blows more lethal. Once you read his argument you will see the boxing glove in a whole new light. Mike even quotes actor James Cagney on the subject. 

His chapter contrasting  MMA fighting with boxing is also an eye opener. Here is a sport that is perceived as more brutal than boxing, but, as the author points out, actually has many more safety measures built into it, and brain injuries are far fewer. Heavily padded boxing gloves are not used by the combatants, a point that bolsters Mike’s argument about the dangers of the boxing glove.

The most controversial, and most likely the change that would do the most good comes down to the author’s proposal to limit the rounds of fights. Many of us remember when title fights were scheduled for fifteen rounds. That was done away with after the death of Duk Koo Kim in a bout versus Ray Mancini in 1982. The fight was seen live on national TV. After that tragedy, title bouts were limited to twelve rounds. 

Mike contends, today even twelve rounds is unsafe for most boxers. In years past fighters would slowly work their way up to longer duration matches by starting out in four rounders, then moving up to six, eight, and finally ten round bouts if they showed they had the ability to handle the distance. This was done over time. It was a sort of an apprenticeship approach.

Now, it is not uncommon to see fighters in their ninth or tenth fight challenging for a world title in a twelve round fight. Mike points out that no matter their physical conditioning, and these fighters are athletes, they have nowhere near the experience to handle going that distance. And the lack of experience is most notable in their lack of defensive skills. Boxing today is mostly about exchanging punches, basically fighters taking turns hitting each other in the head. It is no longer the Manly Art Of Self-Defense. 

There is much more in this treatise on making such a dangerous sport less unsafe. Mike delves into training for referees, the role of the ringside doctors, when a fight be stopped (this is quite interesting), and the case for head guards. 

This is an important book, one that should be read by members of every boxing commission, referees, physicians, and those with influence over the rules of boxing. Will that happen? It is unlikely. 

Boxing has been around a long time, and while there have been some very decent people involved with the sort, it has also been a home to many lowlifes who don’t give a damn about the welfare of the men and women who step into the squared circle. 

The fact that Mike is able to come up with so many reforms for boxing shows just what a mess the sport is and the danger it poses for healthy young athletes. 

My take away from this book, one not intended by Mike, is the conclusion that reforming boxing is a lost cause. Not because his proposals aren’t valid, they certainly are, but rather because the swamp that is boxing will look to bury his work. I do urge people to delve into this highly readable work and draw their own conclusions. In a sane sport, Mike Silver would be garnering praise for his dedication and research into finding a way to fix boxing and protect the athletes. However, boxing is far from a sane sport, and a good man who truly cares for the welfare of it’s participants will most likely be shunned. 

I hope I am wrong, and maybe if enough people read When In Doubt, Stop The Bout, it will lead to a discussion that will lead to lessening the terrible injuries inflicted upon those who step into the ring.