All posts by Bobby Franklin

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.

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.

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

“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

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

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

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

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 .

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!

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.