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.
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.
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 thescore, 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.
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.
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.
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 whileJimmy Carter had dropped his last 2 contests, both non title fights.Carter’s recordstood 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 reporteda 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
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?
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 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 isdirected and choreographed by Emmy Award-winner and Tony Award-nominee Josh Bergassewho 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’sCafe 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 areNicole 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, andorchestrations 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
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
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.
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.
