All posts by Bobby Franklin

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. 

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.

“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

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

 

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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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.

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. 

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?  

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.

 

 

 

 

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