All posts by Bobby Franklin

THE HUNTINGTON THEATRE PRESENTS

Theatre Announcements, ,

TARTUFFE  BY MOLIÈRE

November 10 through December 10

The Huntington Theatre Company presents the brilliant classic comedy Tartuffe by Molière, directed by Huntington Theatre Company Artistic Director Peter DuBois (Sunday in the Park with George), translated by Ranjit Bolt, and featuring actor and comedian Brett Gelman (Murray Bauman on the upcoming season of Netflix’s “Stranger Things” and “Dinner with Brett Gelman” specials on Adult Swim) as Tartuffe and Tony Award winner Frank Wood (Side Man and August Osage County on Broadway and HBO’s “Flight of the Conchords”) as Orgon. Performances run from November 10 through December 10, 2017 at the Avenue of the Arts / Huntington Avenue Theatre.

“This production of Tartuffe is going to be everything you expect from Molière,” says Huntington Artistic Director Peter DuBois, “complete with a spin on period fashion and the brilliantly comic possibilities of staging this classic play for a modern audience. Boston is going to see 2017 alive onstage within the framework of a 17th century farce, and the result will be satirical, smart, and a gut-buster.”

Ranjit Bolt’s translation of Tartuffe premiered at the National Theatre in London in 2002. Many English translations of Tartuffe discard the rhyming couplets, but Bolt’s translation remains faithful to the way Molière wrote the French verse. For Bolt, verse provides a vehicle for examining the ridiculous; his imaginative use of language contrasts with the formal structure of the verse to create an explosively witty text. Audiences can use verse to “escape through anarchy into a surreal world,” Bolt says. “The joy of the verse is the contrast between the discipline of the form and the ludicrous nature of what’s being described.”

DuBois chose the Bolt translation because he thought it captured the energy necessary for his direction: free and loose while still clever and sophisticated. “I knew I wanted a translation that sang in the mouths of actors — that had rhythm and speed,” DuBois says. “Bolt’s translation reads well, but it sounds even better. He captures everything that is joyful and fun about rhyming verse across languages, never becoming rigid or stuffy.”

huntingtontheatre.org, 617 266 0800, Huntington Theatre, 264 Huntington Ave., Boston

NEW REPERTORY THEATRE PRESENTS

Theatre Announcements, ,

MAN OF LA MANCHA

BY DALE WASSERMAN
DECEMBER 1-24, 2017


New Repertory Theatre presents Man of La Mancha, December 1-24, 2017 in the MainStage Theater at the Mosesian Center for the Arts, 321 Arsenal Street, Watertown, MA. Music by Mitch Leigh, Lyrics by Joe Darion, original production staged by Albert Marre. Originally produced by Albert W. Selden and Hal James. Directed by Antonio Ocampo-Guzman. Music direction by David Reiffel. Movement Direction by Judith Chaffee.

“It has become a New Rep tradition during the holiday season to present a play that invites audiences of all ages to revel in this celebratory time of year,” says Artistic Director Jim Petosa. “This year we dream the impossible dream as we present the Tony-award winning musical Man of La Mancha. This classic musical adventure recounts the boundlessly idealistic tale of Don Quixote, epitomizing our season’s theme of resilience. We’re thrilled to bring this spirited revival to New Rep this winter.”

“New Rep is pleased to welcome so many new faces to our stage for our holiday production of Man of La Mancha,“says Managing Director Harriet Sheets. “Besides those joining us for the first time, we welcome back director Antonio Ocampo-Guzman and long-time collaborator Maurice Emmanuel Parent in the role of Don Quixote. Maurice’s presence on our stage over the years has been a highlight of many seasons, so we’re excited that he’s able to join us once again in this starring role.”

Tickets may be purchased by calling the New Rep Box Office at 617-923-8487 or visiting newrep.org.

A Powerful Musical In Ogunquit

Theater Reviews, , , , , ,

From Here To Eternity: A New Musical
The Ogunquit Playhouse

Reviewed by Bobby Franklin

James Jones was at Pearl Harbor on December 7, 1941. He had enlisted in the U.S. Army before the war and was stationed in Hawaii in what seemed like a world away from the war raging in Europe that threatened to include the United States. Army life even before the war was not easy. Many of those who enlisted were living very difficult lives in Depression Era America and looked at the Army as being a way out.

Derek Carley and Company
(Photo Credit: Gary Ng)

Jones wrote about his experiences during this time in the novel From Here to Eternity, which was later made into an Academy Award winning movie. The novel was a no holds barred look at Army life during that period. It was not pretty. The movie shows much, but not all, of what Jones wrote. Now, a musical play with lyrics by Tim Rice, music by Stuart Brayson, and book Donald Rice & Bill Oakes presents us with a work that is much closer to the original novel. It is a painful story but it is told with understanding and sympathy for those involved. All the characters are based on people James Jones knew while serving.

The set at the Ogunquit Playhouse is atmospheric. With large palm trees and multiple levels with lattice work that reaches to the ceiling the beauty of Hawaii is felt but with a dark overtone. Subtle set changes along with images being projected on the walls are used to set the different moods and they are used well.

Kevin Aichele and Company
(Photo Credit: Gary Ng)

The score is outstanding and hits hard and fast with the opening number G Company Blues. The choreography is tight and very physical, conveying the hard life these men lived. Other songs such as Thirty Year Man, Don’cha Like Hawaii, and I Love The Army. Something In Return is an amazing number that was superbly done. It allows us to experience the hope and despair of those stationed on the island as well as the women who share this difficult life. These women include prostitutes and the wife of an ambitious and cruel officer.

Those familiar wth the book and/or movie will quickly recognize most of the characters. If not, they will quickly become known to you. The outstanding cast plays each as their own, and with their solid acting and beautiful voices make this a very powerful work indeed.

The story of cruelty and the misuse of power hardly seems the material for a musical but it works and works well here. With an outstanding cast led by Derek Carley as Private Prewitt and Kevin Aichele in the role of Sargent Warden the pain and struggles of these individuals is brought to life in a way that is both painful to watch but done with tenderness and compassion.

Robyn Hurder plays Karen Holmes the abused wife of the ambitious but weak Captain Dana Holmes played by Bradley Dean. They make the ugliness of such a marriage almost too real, but it is necessary. We do get to see the tender side of Karen in her scenes with Sargent Warden with whom she is having an affair. And for those who might be wondering how the famous beach scene from the movie is recreated, I will just say this is not a staging of the movie; however, the emotions from that iconic movie movement are captured here.

Michael Tacconi and Reed Campbell
(Photo Credit: Gary Ng)

The wise cracking Private Angelo Maggio has been cast perfectly with Michael Tocconi in the role. His rendition of I Love The Army is heart wrenching. Reed Campbell returns to the Ogunquit stage after his outstanding performance in Bullets Over Broadway, and proves that he was no one shot wonder. He again shows his amazing talent as the sadistic Sargent Fatso Judson. By the time Judson gets what is coming to him there is nobody in the house who feels sympathy for him.

Jenna Nicole Schoen plays the prostitute Lorene that Private Prewitt falls for. She has a beautiful voice and is wonderful in her part. Ms Schoen captures in her character a loving woman who has had to turn her feelings off in order to survive in a hard world. Private Prewitt manages to break through the wall she has put up. Jodi Kimura as Sandra, the madame of the local brothel, conveys the combination of a jaded life along with
compassion and understanding.

The finale with the attack on Pearl Harbor is spectacular with slow motion sequences from the actors as well as magnificent use of the projection equipment that brings the audience into that infamous day. It also shows us how life has been transformed by world events and the tragic consequences of people who wield their power, no matter how small, over others with cruelty that result in such horrific consequences. The song The Boys of 41 which is reprised at the end of the play is poignant and moving as we see the names of those who gave their lives projected onto the walls of the theatre.

I do have to mention the amazing job Richard Latta has done with the lighting for this production. The subtle changes are so very effective in setting the mood for the different scenes.

From Here To Eternity at the Ogunquit Playhouse is truly an experience not to be missed. Artistic Director Brad Kenney has closed out the Playhouse’s 85th season in spectacular fashion.

Just a final note. This is not a play that would be appropriate for children. It does handle the serous themes in a tasteful way but I believe it could be disturbing for children.

From Here To Eternity: A New Musical
The Ogunquit Playhouse
Ogunquit, Maine
Through October 29
ogunquitplayhouse.org
207.646.5511

When Everyone Knew Who The Heavyweight Champion Was

Book Reviews, Boxing Articles, , ,

The Boxing Kings:
When American Heavyweights Ruled The Ring
By Paul Beston
Rowman & Littlefield
356 Pages

Reviewed by Bobby Franklin

From the time of John L. Sullivan up to the reign of Mike Tyson just about everybody knew who the Heavyweight Champion of the World was. It was the most prestigious of all sporting titles and the man who held it was one of the most famous, if not the most famous man on the planet. From 1885 up to 1990 only 30 men were able to claim that title.

Being the Heavyweight Champion went beyond just winning fights. Unlike other sports, the Champ did not compete as part of a team. This was a solitary accomplishment that was the epitome of rugged individualism. It took more than just physical prowess to win the title, it also took strength of character and a determined will.

People who have come to the sport of boxing in recent years have no idea what an important figure the Heavyweight Boxing Champion was to past generations. In that period I doubt there was a boy alive who didn’t at one time dream of holding the title. The history of those men who did reach that goal is a very rich one that often mirrors society as a whole. While many books have been written about individual title holders, there has been a need for a broad history of the era when everyone knew the names John L. Sullivan, Jack Dempsey, Joe Louis, Rocky Marciano, Muhammad Ali, and many others.

Now, thanks to Paul Beston, the Managing Editor of City Journal, that need has been filled. In The Boxing Kings: When American Heavyweights Ruled The Ring Mr. Beston tells the story of these unique individuals with insight and respect while at the same time not glossing over their weaknesses. If you are not already familiar with this history there is no better book for you to learn from. If you are an experienced boxing fan you will find this work refreshing and informative. I consider myself to be a bit of a boxing expert and I still found much that was new to me while reading this lively narrative.

It was interesting to find out that John L. Sullivan, who is well known for drawing the color line when it came to defending the title against black challengers, was one of the first people in the ring to congratulate Jack Johnson, the first black champion, when he defeated Jim Jeffries. Sullivan also rode on the railroad car with Johnson and his black supporters after the fight. There may have been an ulterior motive for Sullivan’s actions, but it is still surprising to read about this considering the time in which it took place.

There is so much more. Johnson, who is seen today as a man who stood up and broke through the color line drew one of his own and would not defend the title against some of the finest “colored” heavyweights of his day. Johnson, with his extreme behavior, not only offended whites but finally even blacks who did not find him a good example for their children. To quote the author, “As a black man living on his own terms-not those of whites, not those of blacks, and not those of Booker T. Washington or W.E.B. DuBois-Johnson had no home in the America of his time. But he didn’t have to make the choices he made.”

Mr. Beston moves through the years concisely but without giving short shrift to any of the personalties involved.

Mr. Beston moves through the years concisely but without giving short shrift to any of the personalties involved. In the case of Jack Dempsey, a man who would become one of the most beloved figures in the history of sports, we learn he had his problems stemming from his not having served in the military during WWI. It was a stain that would haunt the great champion for years. Yet, even with that baggage his magnetism provided for the first million dollar gates in history. Dempsey also brought boxing out of the shadows and into the mainstream.

Mr. Beston shines in this book in that he not only has done painstaking research, but he is also a great writer who never gives his readers a dull moment. In a chapter entitled The Substitutes he covers the period between Dempsey and Joe Louis. For many this time is looked upon as a lull between two great champions, but it was actually a fascinating period. It was during this time that two of the champions were not from the United States, making it truly a world championship. As that world was slipping into chaos it appeared the Heavyweight Championship was too. Max Schmelling won the title on a foul, the only fighter ever to do so. Gangsters were becoming heavily involved in the game, and there was even a question of whether or not Jack Sharkey threw his fight with Primo Carnera.

It took Joe Louis to bring stability and honor to the sport. While reading Mr. Beston’s chapter on the Louis years one is filled with joy and sadness. Louis was not only arguably the greatest heavyweight of all time, but also one of the most important figures of the 20th Century when it came to unifying the nation and breaking down racial barriers. Louis does not receive the credit he deserves for all he accomplished. He is given his due here. As Mr. Beston writes “Louis was a light in black America’s darkness, and a generation would never forget him for it.” When reading that line I can’t help but think of how Muhammad Ali would later mock the aging champion.

Louis was the first black golfer to play in a PGA event, another wall he broke through. I have to admit I was almost bought to tears reading about Joe’s days after boxing. This man who had done so much for boxing and for his country was hounded for years by the IRS and relegated to being a greeter in LasVegas. Paul Beston gives this great man the respect he earned and deserves.

Mr. Beston brings us Rocky Marciano, the Brockton Blockbuster. Marciano possessed the grit, determination, and sheer will that allowed him to overcome his physical shortcomings to become the only undefeated champion in history. He was also a hero to working class America. Following Rocky, Floyd Patterson’s rise to the throne ushered in a period when boxing appeared to be fading away. Then along came the colorful and handsome Swede Ingemar Johnson who briefly shot some adrenaline into the veins of the sport. We see Sonny Liston, the man whose stare paralyzed opponents and whose lifestyle made him unwanted as champion. Mr. Beston gives us insight into this complicated man who is almost impossible to understand. If boxing were the works of Shakespeare, then Liston would be one of the “problem plays”.

In reading the chapter on Muhammad Ali, the man who certainly saved boxing but at at a cost, I can’t help but think of how different things would have been if Ali had made some other choices. His decision to become part of a radical black separatist movement that preached racial hatred was so at odds with the unifying movement led by Martin Luther King Jr. This charismatic young champion could have done so much to further race relations but chose to take a different path. It is ironic he is looked upon as a great Civil Rights leader when he preached separation of the races. Mr. Beston gives us much insight into Ali’s career, but I think he could have a whole book just on this one subject where he would be able to delve more deeply into this subject.

Paul Beston closes his history with the years following Ali and ends with Lennox Lewis taking over as champion. In these chapters he discusses the bitterness of Larry Holmes and even made me feel some sympathy for Mike Tyson. He gives his thoughts on why the Heavyweight Champion is no longer a recognizable figure.

Paul Beston’s work is truly worthy of the Championship Crown.

I read a lot of books on boxing. There are a number of good ones out there. However, some are well researched but poorly written and not well edited, while others are plain awful. In The Boxing Kings we have the rare book that is well researched, well written, lively, informative, and fully conveys the author’s love for the sport while taking an honest view of it. If books were fighters some would be tomato cans, some journeymen, some contenders, and a very few would be Champions. Paul Beston’s work is truly worthy of the Championship Crown. I highly recommend it.

 

 

Ogunquit Playhouse to Stage From Here to Eternity

Theatre Announcements, ,

North American Rollout Of New Musical 

Runs October 4 through 29

The Ogunquit Playhouse is honored to be part of the North American rollout of the new musical From Here to Eternity, on stage October 4 through 29. The musical is based on the acclaimed novel (which also became a multi-Academy Award-winning film), by James Jones with lyrics by Tim Rice, book by Donald Rice and Bill Oakes and music by Stuart Brayson. As part of its development path to Broadway, Sir Tim Rice is collaborating with the Ogunquit creative team to mount this compelling new musical set in Hawaii in the weeks before the 1941 attack on Pearl Harbor. “The epic story by WWII veteran James Jones, From Here to Eternity, is one of the most searing, honest and romantic views of the men and women who served our country during World War II. The way in which this story had to be told more than 60 years ago due to censorship, softened some of the reality of military life at that time. Today, we are able to tell the story as it was originally intended, revealing the grit and intrigue of military life that Mr. Jones experienced. It has been a great honor to collaborate with Sir Tim Rice, Donald Rice, Brett Smock and our entire creative team on this new musical adaptation to tell this iconic American story in a new way,” said Ogunquit Playhouse Executive Artistic Director Bradford Kenney.
This epic tale follows the powerful story of two U.S soldiers, the soulful Private Prewitt played by Derek Carley and ardent Sergeant Warden, played by Kevin Aichele, as they embark on doomed and dangerous love affairs with the wrong women. The sultry wife of G Company’s commanding officer, Karen Holmes, is played by Robyn Hurder, and Lorene, the beautiful escort who is looking to make a better life for herself, is played by Jenna Nicole Schoen. As the infamous date of December 7th approaches, the claustrophobic world of the four lovers and the desperation of the soldiers of G Company splinter amidst an escalating war. The compelling story of men at war along with a fantastic new score is not to be missed.
Returning to the Ogunquit Playhouse is Bradley Dean as Captain Dana Holmes, commanding officer of G Company. Mr. Dean last appeared in 2016’s The Hunchback of Notre Dame as Frollo, for which he was nominated for an Independent Reviewers of New England (IRNE) Award for Best Actor in a Musical. On Broadway he has starred in numerous productions including Dear Evan Hansen, A Little Night Music, The Last Ship, Doctor Zhivago, Monty Python’s Spamalot, The Story of My Life, Evita, and Man of La Mancha.

Kevin Aichele (First Sergeant Milton Warden) most recently portrayed Warden in the Finger Lakes Musical Theatre Festival production of From Here to Eternity. Some of his selected credits include, Sam in Mamma Mia!, Captain Von Trapp in Sound of Music, and Javert in Les Miserables. Derek Carley (Private Robert E. Lee Prewitt) regional credits include Ghost, Daddy Long Legs, Titanic, Big, and Gay Bride of Frankenstein, and he was in the first National Tour of Flashdance. Robyn Hurder (Karen Holmes) returns to the Ogunquit Playhouse after previously starring as Norma Cassidy in 2015’s Victor/Victoria. On Broadway she has performed in Nice Work if You Can Get It, Grease, Chicago, Wedding Singer, and Chitty Chitty Bang Bang. Ms. Hurder starred in NYCC Encores! productions of The New Yorkers, and Paint Your Wagon, as well as Off-Broadway in Play It Cool. She was in the National Tours of A Chorus Line, Monty Python’s Spamalot, and Starlight Express. Jenna Nicole Schoen (Lorene) recently appeared in the National Tour of Jersey Boys. Her regional theatre credits include CATS and Monty Python’s Spamalot at Pittsburgh CLO, Theory of Relativity at Goodspeed Opera House, and La Cage Aux Folles at Theatre By The Sea. Michael Tacconi (Private Angelo Maggio) is reprising his role from the Finger Lakes production of From Here to Eternity, and recently portrayed Nick in New World Stage’s Bare. Mr. Tacconi has also appeared on television on ABC’s The Family, and LMN’s I Love You…But I Lied. Reed Campbell returns to the Ogunquit Playhouse as Sergeant James Judson. He was seen earlier this season in his critically acclaimed performance as the hit-man “Cheech” in Bullets Over Broadway. Mr. Campbell was Cookie McGee in the National Tour of Nice Work If You Can Get It, and performed off-Broadway in Important Hats Of The Twentieth Century at the Manhattan Theatre Club, in The Comedy Of Errors at The Public Theater’s Shakespeare in the Park, and regionally as Judas Iscariot in Stage 773’s The Last Days Of Judas Iscariot.
www.ogunquitplayhouse.org 207-646-5511.

Oleanna Opens At New Repertory

Theatre Announcements

The New Repertory Theatre Presents
Oleannna
by David Mamet
October 14 through November 5

Watertown, MA

“New Rep is proud to present this challenging play by one of its favorite playwright’s, David Mamet,” says Artistic Director Jim Petosa. “In the hands of director Elaine Vaan Hogue, the titanic talents of Johnny Lee Davenport and Obehi Janice will create a counterpoint of intensity that will bring the central conflict of this play into sharp focus.”
“New Rep is excited to welcome back both Johnny Lee Davenport and Obehi Janice to our stage,” says Managing Director Harriet Sheets.

“Johnny Lee returns after his masterful portrayal in our acclaimed productions of Thurgood and The Whipping Man and Obehi returns after her powerful performance in Lydia Diamond’s The Gift Horse last season. We hope New Rep audiences will enjoy watching these two powerhouse performers together in David Mamet’s classic drama.”

JOHNNY LEE DAVENPORT* (John) returns to New Repertory Theatre after performing in Thurgood, The Whipping Man, and A House with No Walls. Other area credits include The Unbleached American (Stoneham Theatre); It’s A Wonderful Life, A Radio Play (Wheelock Family Theatre); Water by the Spoonful and Broke-ology/Elliot Norton Award, Best Actor (The Lyric Stage Company); Driving Miss Daisy and Master Harold…and the Boys (Gloucester Stage Company); and Invisible Man/Helen Hayes Award, Best Ensemble (Studio Theatre Washington, D.C. and The Huntington Theatre Company). Mr. Davenport has played more than 50 roles in 24 of Shakespeare’s plays including Richard III (Commonwealth Shakespeare Company); Pericles (Actors’ Shakespeare Project); and Richard II (Shakespeare & Company). Film credits include Ted, The Fugitive, U.S. Marshals, and Ascendants. He was named Best Actor in Boston Magazine (2011). johnnyleedavenport.com

OBEHI JANICE* (Carol) returns to New Repertory Theatre after performing in The Gift Horse and New Rep’s Next Voices New Play Reading Series. Recent credits include Love’s Labour’s Lost (Commonwealth Shakespeare Company); We’re Gonna Die (Company One Theatre/American Repertory Theater); An Octoroon (Company One Theatre/ArtsEmerson); Mr g (Underground Railway Theater); her solo show FUFU & OREOS (IRNE Nomination, Best Solo Performance, Bridge Repertory Theater); Arabian Nights (Central Square Theater); It Felt Empty (Theatre on Fire); and Splendor (Company One Theatre). A graduate of Georgetown University, Obehi was named “Boston’s Best Actress” by The Improper Bostonian in 2014. Her comedic short, Black Girl Yoga, won the Reel 13/AfroPunk Film Competition (WNET/New York Public Media). American Theatre magazine named her one of “6 Theatre Workers You Should Know” in February 2017. She was also the TCG Fox Foundation Resident Actor at Company One Theatre from 2015-2017. Originally from Lowell, Massachusetts, she currently resides in Medford. obehijanice.com

ELAINE VAAN HOGUE (Director) is a director, actor, and teacher. Previous productions at New Repertory Theatre include directing Baltimore, The Amish Project, Imagining Madoff (Elliot Norton nominee for Outstanding Production), The Kite Runner, and co-curating the inaugural Next Rep Black Box Festival in 2014. Regional directing credits include A Disappearing Number (URT @ Central Square Theater); Metamorphosis (Boston Center for American Performance); Walking the Volcano (Boston Centerfor American Performance/Boston Playwrights’ Theatre); Crave (Nora Theatre Company); Thin Air: Tales from a Revolution (Kansas City); Infinity’s House (Majestic Theatre); Fen (New Theatre); The Penelopiad, Execution of Justice, Lizzie Stranton, The Trestle at Pope Lick Creek, The Other Shore, Angels in America, Three Sisters, Pains of Youth, Polaroid Stories, Marisol, and many others (Boston University). As an actor she has performed in The Road to Mecca (Boston Center for American Performance); Creation: Mythic Weavings (Women on Top & Magdalena USA); When Jennie Goes Marching (Olney Theatre & Spontaneous Celebrations). She is a member of the Magdalena Project, an international network of women in contemporary theatre, and is a participant in an international cyber-performance group collaborating in All the Better To See You With (Odin Teatret), MagFest KISS (Amsterdam), trans-hack- feminist UpStage Jam (Eclectic Tech Carnival). Ms. Vaan Hogue serves as Program Head of Theatre Arts at Boston University. Originally from Los Angeles, she resides in Central Massachusetts.

New Repertory Theatre presents Oleanna, October 14-November 5, 2017 in the MainStage Theater at the Mosesian Center for the Arts, 321 Arsenal Street, Watertown, MA. New Rep Box Office at 617-923-8487 newrep.org.

Rest In Peace Jake LaMotta

Boxing Articles

The Bronx Bull Passes At 95

by Bobby Franklin

It has often been observed when someone has lived a long life that they have outlived their friends. Sometimes longevity is measured by how many doctors they have buried. In the case of Jake LaMotta who died last week at the age of 95, he managed to outlive his reputation. If Jake wasn’t, he certainly was very close to being a sociopath. He was a vicious guy who struck fear into all who knew him when growing up. Growing up during the rough years when LaMotta was a kid in New York City was tough. It led a lot of young men to a life of crime. Most were very tough and quick with their fists. But with Jake, he carried it further. For example, when robbing a jeweler he knew, he wasn’t satisfied with just scaring the guy and running off with the goods. No, he also had to nearly beat the man to death with a pipe. He also physically abused his wives. Jake truly seemed to take pleasure in causing physical harm to others. He had a sadistic streak in him. This character trait, if I may call it that, was featured in the Martin Scorsese film The Raging Bull. It is an ugly story about a vicious and cruel man.

The movie made LaMotta a household name again long after his boxing days were over. He never disputed his characterization as depicted in the movie. A few years earlier he had written a book with the same title and in it he didn’t hold back about his life. It isn’t that he was proud of what he had done, but he didn’t exactly appear to be ashamed by it either.

I first met Jake at a boxing writer’s dinner in New York City in 1971. I was a kid but remember the time well. I was seated next to a boyhood friend of LaMotta’s by the name of Toppy who also ended up in the Scorsese movie. He asked me if I would like to meet Jake. Well, of course I would. I was fanatical about boxing at the time and getting to meet one of the great champions was something that was very exciting for me.

Robinson vs LaMotta

Jake was moving about the room and made his way to our table. Toppy introduced us and Jake shook my hand. He was smoking a cigar and had a very aggressive personality. He was telling jokes and enjoying the attention. But, what I remember most was how tense Toppy and the other people at the table became. This was a 49 year old LaMotta. He was still relatively young and still a pretty edgy guy. I found out after he left the table the reason everyone was so tense. They were afraid of saying something that would set the former champ off. They al knew him well and knew how unstable he still was. Years later when I saw the movie Goodfellas the Joe Pesci character Tommy immediately reminded me of the LaMotta I met that night in 1971.

Strangely enough, even after the movie Raging Bull came out, somewhere along the line Jake turned from vicious sociopath into a elder statesman of boxing. I have to admit when I would see him years later wearing his cowboy hat he did look like a lovable character. I guess that can happen if you live long enough.

Vicki and Jake

I am not writing this to speak ill of the dead. I honestly believe Jake would not have a problem with this as he was always honest about who he was. I might also add that Jake was not a bully in the sense Mike Tyson was. Jake was crazy but, unlike bullies in the Tyson mold, he had no quit in him. He could not be intimidated physically. Tyson’s will could be broken, not so for LaMotta. I am not sure if that was guts or insanity, but for anyone in boxing it is a trait that is very much admired.

LaMotta is often underappreciated for his boxing skills. His reputation as a slugger is well deserved, but he was also a brilliant tactician. Contrary to popular belief, Jake did not just walk in with his chin sticking out. He was a master at rolling with punches. If you look closely at many of his fights you may at first think he is absorbing some brutal punches. Look a little closer and you will see how he is moving his head as those punches are landing. This head movement lessens the impact of the blows. Jake likened it to the way a baseball player will pull back his glove when catching a ball in order to better absorb the force of the ball.

Jake was also a master at feinting, parrying, and slipping punches. And, it should be noted, he had an excellent left jab. He showed how effective the jab could be when throw from a crouch. Yes, LaMotta was a true artist in the ring.

He was the top middleweight contender for years before getting a title shot. There are a couple of versions of the story why he didn’t get a shot earlier. They are similar. One has it that Jake wouldn’t play ball with the mob. The other has it that the mob wanted nothing to do with him as he was too crazy. At any rate, they finally did business. The deal was Jake would throw a fight against Billy Fox and then later get a title shot. He did throw the fight but not very convincingly. Nineteen months later he finally got his chance at the title, winning the belt from Marcel Cerdan. Jake was past his prime at this point in his career. He would hold on to the title for less than two years before losing it to his old rival Sugar Ray Robinson. He would fight off and on for just a few more years before retiring.

Jake LaMotta will most likely be remembered fondly by many. He certainly should be remembered as a great fighter and one of the top Middleweight Champions of all time. However, we should not forget that being a champion in the ring does not necessarily make you one out of it.

Men On Boats A Sinking Ship

Theater Reviews

Men On Boats

The SpeakEasy Stage, Boston

Reviewed by Bobby Franklin

Photo Credit: Nile Hawver/Nile Scott Shots

Men On Boats looked to be an interesting, thought provoking, and even edgy play. Unfortunately, it was none of those things. The story based on John Wesley Powel’s 1869 expedition down the Colorado River to the Grand Canyon has a cast made up of non male actors in the roles of the explorers. It is an interesting concept and one I was looking forward to.

Author Jaclyn Backhaus is quoted in an interview when asked if she would call it a feminist play that “I would like it to be one, if only to piss off the six or seven old white men who walked out during the first half of this past run.” Well, as an old white man all I can say to Ms Backhaus is the only thing about this play that pissed me off was the extraordinary tediousness of it. I would have been happy to have been offended, challenged, or provoked by this production. I appreciate edgy work even if I don’t agree with it. However, this was far from provocative. It was simply a dreadful waste of 100 minutes. If she wants to make people angry, and that is a very legitimate thing to do with theatre, she needs to do better than this. I would much rather be offended than bored to death.

I have always admired the SpeakEasy Stage Company for its willingness to put on new and challenging works. And I have no doubt they will continue to do so. We are lucky to have such a company in Boston I think it is important they do that, and I must say I have been influenced by many of the fine productions have seen there. This just is not one of them.

Men On Boats
Through October 7
The SpeakEasy Stage Company
617.933.8600 speakeasystage.com

The Royale Comes Out Swinging

Boxing Articles, Theater Reviews, Uncategorized

The Royale

At The Merrimack Repertory Theatre, Lowell

Reviewed by Bobby Franklin

The Royal, directed by Megan Sandberg-Zakian, this year’s season opener at the Merrimack Repertory Theatre in Lowell, is a fast paced work that doesn’t let up for a moment during its 80 minutes. Very loosely based on Jack Johnson’s fight against Jim Jeffries it is the story of Jay “The Sport” Jackson who is the first black man to challenge for the Heavyweight Championship of the World.

Toran White and Thomas Silcott. Photo by Meghan Moore.

Jay Jackson is played by Thomas Silcott who brings us into the ring with and into the mind of the confident but conflicted challenger. Playwright Marco Ramirez has given him plenty to work with in this thought provoking play, and Silcott has an amazing presence on the stage. The dialogue is crisp and sharp like an action filled boxing contest. Ramirez not only gives us insight into what a fighter is thinking about while in the ring, but also deals with the wider implications of of having a black man win the white dominated championship in 1910.

Silcott has an amazing presence on the stage.

This conflict is sharpened by a conversation Jackson has with his sister Nina played by Ramona Lisa Alexander. Nina warns Jackson that his victory could result in violence against blacks across the nation, and she suggests subtly that it may be better for everyone if he lost. She feels that things are moving too fast and questions if Jackson is putting his personal gain ahead of his people. It is an intense back and forth that has the power of a hard fought boxing match.

Toran White, Mark W. Soucy, and Thomas Silcott.
Photo by Meghan Moore.

Mark W. Soucy plays the fast talking white promoter Max who also serves as reporter and commentator for the two boxing matches that take place in the play. His sharp dialog keeps the adrenaline flowing. As a ballyhooer he puts Don King to shame. You can feel the excitement build listening to him. He’s good.

Jeorge Bennett Watson as Wynton, Jackson’s trainer, and Toran White who plays Fish, Jackson’s opponent in the opening scene as well as his sparring partner for the big fight, are both excellent in their roles which are a bit lower octane but no less important. Wynton has been around the game for some time and seems a bit uncomfortable with the social implications of the fight. Fish is excited to be a part of such a great event but also is naive and is the character who elicits sympathy from the audience. Both actors are strong and very competent in their roles.

Lighting (Karen Perlow) and sound (David Remedios) are used very effectively. A scene where Jackson is hitting the heavy bag while his shadow is cast against the side and back of the stage is very powerful. Mr. Ramirez has said that he sees boxing as a percussive sport and incorporates a hip hop rhythm into the play. Something that works very well.

Ramona Lisa Alexander and Thomas Silcott.
Photo by Meghan Moore.

The fight scenes are different in that instead of having the boxers throw staged punches at each other they face the audience and punch towards them while also using the noise of stomping feet and claps to represent punches. It is a novel and very effective way to stage a fight and the accompanying dialog along with superb lighting allows us to step into the minds of the fighters.

 

The Royale is a boxing play but it is much more. In these heavily politicized times I am always fearful that a playwright will, as they too often do, preach to the audience about how it should think. Mr. Ramirez instead choses to leave us with questions. This is far more effective in helping bring us together to find common ground.

Whether or not you are a boxing fan, The Royale is a play that you should not miss.

The Royale
Through October 8
The Merrimack Repertory Theatre
Lowell, MA
MRT.org 978.654.4678

 

Friends To The Beginning

Theater Reviews

Merrily We Roll Along
The Huntington Theatre

Through October 15

Reviewed by Bobby Franklin

The Huntington Theatre Company plans to produce all fifteen of Stephen Sondheim’s musicals. This year they have begun their season with Merrily We Roll Along, the Sondheim play with book by George Furth that had a very rocky beginning in 1981, closing on Broadway after just 16 performances. Sondheim and Furth revised the play in 1992, but not on Broadway. Twenty years after that Maria Friedman, who played Mary in the 1992 production, directed a new production that became a hit in London’s West End.

And now, thanks to Huntington’s artistic director Peter DuBois, Boston audiences have a chance to see this wonderful production with Maria Freidman directing. For a play that had such a rough beginning it has grown into a solid work.

Mark Umbers and Aimee Doherty
Photo; T. Charles Erickson

The story about three friends, Frank, Charley, and Mary is told in reverse. The play begins as their friendship is coming apart in 1976 and works it way back to when they first got together in 1957. It is a story of the challenges facing friends as they move ahead in life and begin to define their values, which can often turn out to be much different as they experience life. There is no doubt audience members will find much that is familiar in the play.

As the play opens we learn of the tension between Frank and Charley who’s friendship had also turned into them becoming a song writing team and playwrights. Creatively they worked well together. The two had become quite successful, but each measures success in a different way, and this has caused much tension between them.

…a stage that is overflowing with talent giving us theatre that is a joy to watch.

Frank and Charley are played by Mark Umbers and Damian Humbley respectively. They are reprising their roles from the West End production and are marvelous together. Mary is played by Eden Espinosa who brings an honesty as well as a tenderness and wit to the role of Frank and Charley’s novelist friend who sees the destructive effects success is having on the friendship but is not able to do anything to stop it. She is also in love with Frank but never lets on to him.

Damian Humbley, Mark Umbers, and Rebecca Gibel
Photo: T. Charles Erickson

In what is one of the musical highlights, Mr Humbley as Charley is positively superb when he encapsulates all of his misgivings about what Frank is doing wth the direction of their career. The number, Franklin Shepard, Inc, takes place during an interview at NBC studios and is a high octane piece that is a show stopper. The audience at the performance I attended loved it, as did I.

There is so much to enjoy about this show. The score has to be structured in an unconventional manner as the story is moving backwards. I would imagine Sondheim enjoyed playing with this musical timeline.  Music Director Matthew Stern is in top form in his treatment of it. The Choreography by Tim Jackson is fantastic. Watching the company moving about the stage during “The Blob” set in 1962 is both very funny and brilliantly done. Other numbers include the touching but upbeat Old Friends, Not A Day Goes By performed beautifully by Jennifer Ellis, and the Vaughn Meader influenced Bobby And Jackie And Jack a comic musical takeoff of the Kennedy’s.

Eden Espinosa, Mark Umbers, and Damian Humbley
Photo: T. Charles Erickson

Taking this ride back to where it all began is a fascinating journey. Along the way we go from the judgements we make of the characters having seen them after so much occurred to learning how they got that way. It is so interesting to observe as it reminds us how fragile friendships can be, and how what we value as individuals can create conflicts with those we love. It also reminds us of how hard it can be to frame our values when we are not sure of what it means to be successful.

Umbers, Humbley, and Espinosa are just fantastic. Add the remarkable Jennifer Ellis as Beth and Aimee Doherty as Gussie and you have a stage that is overflowing with talent giving us theatre that is a joy to watch.

Jennifer Ellis and Mark Umbers
Photo: T. Charles Erickson

Many years ago a very successful man gave me a piece of advice. he told me not to chase success but to chase the idea. Success will follow. I believe by success he meant happiness is seeing your idea blossom. Charley understands this,  while deep inside Frank does too, but just can’t allow himself to accept it. Mary feels the pain for both of them.

I recommend this play as it is not only so well done, but it will also leave you reflecting on your own definition of success and the value of friendship. You could do worse than to ponder such things. And, you couldn’t do better than to see this production of Merrily We Roll Along at the Huntington.

Merrily We Roll Along
Through October 15
Huntington Theatre Company
Boston 617.266.0800 huntingtontheatre.org