All posts by Bobby Franklin

The Lyric Stage Finds Its Gypsy

Theater Reviews, ,

A Theatre Experience To Remember 

Gypsy at the Lyric Stage, Boston Through October 8th

Reviewed by Bobby Franklin

Lyric Stage Artistic Director Spiro Veloudos has found his Gypsy. In Leigh Barrett he has found an actor who can step into the iconic role of Mama Rose. Ms Barrett makes this her Rose and we get to see one who fully embraces the part with a powerful performance. From her first number, Some People, you know she is going to be very special. It has to be a daunting role to step into, but she’s got what it takes.

Kirsten Salpini
(Photo Credit: Mark S. Howard)

He has found his Louise in the amazingly talented Kirsten Salpini who gives a perfectly measured Louise who goes from being the unsteady second fiddle to her sister and grows in confidence and the ability to stand up to her domineering, and it can be argued, abusive mother. With Ms Salpini we see that transformation occur seamlessly. It is not an easy part to play.

He has found his June in Kira Troilo who gives us the fair haired daughter who finally realizes she has to flee the smothering grip of her mother. She is the child who realizes that in order to become a woman she has to walk away from it all. At first her character seems very superficial, but Ms Troilo gives her a sensitivity and a humanity that allows us to respect June and leaves us knowing she will make a good life for herself.

And then there is Herbie. Spiro has found a marvelous Herbie for us in the ever so talented Steven Barkhimer. Mr. Barkhimer gives a character who could be taken for weak but has us see it is not weakness but kindness that inhabits this very decent man who has taken up with a very difficult woman. Having seen Mr. Barkhimer before I was not at all surprised to see how truly wonderful he is in this role, and it is such a pleasure seeing him practice his craft.

If you miss this production you are making a huge mistake.

Spiro has found all of this talent and more including the young June and Louise played by Margot Anderson-Song and Cate Galante who, accompanied by fabulous ensemble contribute so much to the very strong first act. They are very impressive.

Leigh Barrett
(Photo Credit: Mark S. Howard)

And finally, he has found Director and Choreographer Rachel Bertone who pulls it all together for an amazing Gypsy. Ms Bertone gets it all just right in this scaled down but amazing production of what has been called the greatest of all Broadway musicals.

The six piece orchestra led by Dan Rodriguez coupled with a simple but poignant set make this a first rate work capable of rivaling any huge stage production. I would go as far as to say it is better. Seeing this in the intimacy of the Lyric Stage Theatre brings us close not only physically but emotionally to the story. A story that has been described as Lear-like and while filled with some of the greatest numbers in the history of Broadway musicals, it can be searing and painful to watch.

Stephen Barkhimer, Leigh Barrett, Kirsten Salpini
(Photo Credit: Mark S. Howard

The score is timeless and simply great with music by Jule Style and lyrics by Stephen Sondheim. The songs are unforgettable, and it is all pulled together in the book by Arthur Laurents. Numbers such as Let Me Entertain You, Some People, Small World, If Mama Was Married, Everything Coming Up Roses, You Gotta Get A Gimmick, and my favorite Little Lamb, that Kirsten Salpini does with such tenderness speak for themselves. This is the stuff of legend.

Okay, so now I have to add something, and I know I am in a very tiny minority when I say this. I have seen productions of Gypsy before, and I have always enjoyed  Act I. It is Act II that would leave me flat, or rather with the feeling the story is left unresolved and with an unnecessary cruelty. I feel the dysfunction of Mama Rose has been taken too far. In truth, I was not looking forward to seeing it again, Act II that is. This time was the exception as Director Bertone brings it all together thoughtfully at the conclusion. Yes, Rose is still flawed but something special happens. It may not be a Kodak Family moment, but it is real and it works.

As I said at the beginning of my review, Spiro has found a great Gypsy, with Barrett, Salpini, Troilo, Barkhimer, and company lighting up the Lyric Stage. If you miss this production you are making a huge mistake.

Spiro Veloudos has kicked off his 20th year at the Lyric Stage in great fashion. He has found something very special and is sharing it with all of us. Accept this gift from this wonderful man. He knows how to Light the Lights!

Gypsy
The Lyric Stage, Boston through October 8th
lyricstage.com 617-585-5678

 

There’s Good Rockin’ In Ogunquit!

Theater Reviews, , ,

Heartbreak Hotel
Ogunquit Playhouse
Through September 30th

reviewed by Bobby Franklin

The early years of Elvis Presley are too often overlooked. Most Presley impersonators portray the Elvis of the Vegas stage years wearing capes and sequined jump suits. At this later point in his life the drug use was really beginning to show, and the rock icon was becoming a tragic figure. The hard living would result in his untimely death at the age of 42. It is unfortunate it is this Elvis who is most often portrayed

Photo Credit: Gary Ng

While the Las Vegas Elvis fits into the much too often tragedy of a great talent taken down by his own success, the more interesting story lies in his early years. This is where Floyd Mutrux, the creator of the Tony Award winning Million Dollar Quartet, which played to sold out crowds at the Ogunquit Playhouse the past two seasons, has stepped in to tell the truly fascinating story of Presley’s early life.

Heartbreak Hotel is a prequel to Million Dollar Quartet and focuses on the Sun Records years of the young truck driver who would skyrocket to fame overnight.

The world premiere of Heartbreak Hotel is now playing at the Ogunquit Playhouse. It is an interesting production to watch as it is still a work in progress. The music is positively outstanding with all of the actors playing their own instruments.

Clendening captures the persona of the young Elvis.

Eddie Clendening who originated the role of Presley in the Broadway production of Million Dollar Quartet is not an Elvis impersonator. He brings much more to the stage than just imitating the rock icon. Clendening captures the persona of the young Elvis. Most impressively, he is able to rock out with the raw energy of Presley while always retaining that shyness that made him so charming. While ripping out on songs such as Good Rockin’ Tonight with hips swiveling and lip twitching we see that young boy who still seems just a bit uncomfortable in the spotlight even while he is thriving on it. Clendening really pulls this off and it is no easy task to do so. This is as close as you will come to experiencing the young Elvis, a paradoxical figure who was shy and yet craved attention.

Photo Credit: Gary Ng

The story is not just about Elvis but also about the era. It was an amazing and transformational time in music and there are cameos from many of the other great performers of the time. These include Wanda Jackson (Brenna Bloom) and Sister Rosetta Tharpe played by Terita Redd who deserves an Amen! for her amazing rock/gospel singing.

Geno Henderson nearly steals the show playing numerous greats including Chuck Berry and Nat King Cole. Mr. Henderson moves seamlessly through his parts.

The interplay between Colonel Tom Parker (Jerry Kernion) and Sam Phillips (Matt McKenzie) creates a tension with Parker seeing Presley as a product and Phillips recognizing him as a great artist. It leaves us wondering just what would have happened if Presley had decided to remain with Phillips.

Yes, this play is a work in progress with the musical numbers, the sets, the lighting, all outstanding. I don’t think this time of Elvis Presley’s life has ever been captured so well. Where the production is weak is in the book. The early life of this seemingly simple southern boy is a very complex story. It is a huge challenge to try to capture even a very condensed version of all that went on in those early years while still focusing on the music. What I saw on the stage in Ogunquit is a great start to what can be a wonderful and important story. It will be interesting to see how it all develops.

There are more than a couple of reasons to see Heartbreak Hotel. First, watching Eddie Clendening as the young Elvis is a truly great experience. He really gets it. Second, while this is a work that is still being developed it is fascinating to be a part of the process as I am sure the writer and director are taking the pulse of the audiences. It might not be a bad idea for them to have suggestion boxes placed at the exits. I know I would have contributed a few.

Heartbreak Hotel takes us back to one of the most incredible eras in the history of American music. It is just amazing when you realize how fast things changed. It was an exciting time that lives on in music through this day. It’s rather ironic that Colonel Parker chose to take Elvis to Hollywood and Vegas as he didn’t believe Rock N Roll was going to last. Sam Phillips knew better.

ogunquitplayhouse.org  207.646.5511

 

Tony Shucco One Of Boston’s Greatest: He Should Never Be Forgotten

Boxing Articles, ,

North End Native Defeated Five World Champions

by Bobby Franklin

Tony In His Prime

I remember getting to know Tony Shucco when I was a young amateur boxer training at the New Garden Gym in Boston. He would climb the stairs to the fourth floor of the legendary gym many a day to watch the fighters work out. He was usually quiet, but it was obvious he enjoyed being there. Boxing had been and still was his life.

It is sad that such a great fighter, a man who defeated five world champions including two heavyweight champs, is not better remembered. Tony was among the best boxers to fight out of Boston and deserves to be recognized for that.

Not long ago I spoke with his daughter Angela and she allowed me to look at a box filled with letters, photographs, and news clippings of her father’s career. She is very proud of her father and hopes more people will learn about his career.

Tony Shucco was born June 13, 1911 and grew up in Boston’s North End where he lived most of his life. His original name was Anthony Sciucco, but he changed it to the more easily pronounced Shucco when he began boxing.

The Man About Town

After an outstanding amateur career that consisted of nearly a hundred bouts and numerous championships, Tony moved onto the professional stage with his first bout taking place in 1928. He would remain undefeated for 18 fights before dropping a decision to the great Johnny Indrisano at the Boston Arena. At this time Tony was campaigning as a welterweight but would begin moving up through the weight classes. And, like so many great boxers who start off at lower weights, he retained the speed and skills that are rarely seen in the heavier fellows.

Tony was a brilliant boxer who possessed one of the best left jabs in the business. Though he rarely weighed over 180 pounds he fought many of the leading heavyweights of his day. He defeated Natie Brown, Lee Ramage, Tuffy Griffiths, and two heavyweight champions, Jack Sharkey and James J. Braddock. He also scored wins over champions Maxie Rosenbloom, Bob Olin, and Lou Brouillard.

Tony Shucco was a solid top contender for years and it is unfortunate he never got a shot at a title. He certainly had the credentials for it, but back in those days there were so many outstanding fighters competing you really needed to be connected to get a shot.

Packing For A Fight In Germany

In 1938 Tony traveled to Europe where he had an English representative by the name of Tom Hurst. He was a making a name for himself across the Atlantic with fights in England, Ireland, and Germany. In letters he wrote home he began signing his name “English” Tony Shucco. While there he became close friends with American Flyweight Champion Jackie Jurich who was also represented by Hurst. The clouds of war were starting to gather and it was difficult being separated form his wife Etta and young son Anthony, so Tony returned home. He was immensely popular with the European fans and surely could have built a great reputation on the Continent had he continued fighting there.

Tony Missing His Family

When he returned to the States he dropped a close decision to top rated heavyweight Bob Pastor and then went on a winning streak. It is at this point in Tony’s career where he just couldn’t catch a break. In 1940 Heavyweight Champion Joe Louis agreed to defend his title in Boston. The logical opponent for Joe would have been Tony Shucco who was on a six fight winning streak. Tony was back from Europe, in good shape, and full of confidence. Unfortunately, the title shot was given to Al McCoy who had lost three of his last six fights including two consecutive losses leading up to the Louis fight. I am not sure why McCoy was chosen over Tony, but it should have been Shucco in the ring on that December night.

Jackie Jurich with Tony Shucco

I am not arguing Tony would have beaten Louis as there wasn’t a man on the planet who could have taken Joe back then. But, I will make the case Shucco had the style to give the Brown Bomber some trouble. It is also highly possible Tony could have lasted the distance. It is a shame he did not get the opportunity to fight for boxing’s biggest prize against its greatest champion. I can guarantee you he would have been remembered for that and would have made Boston proud.

It is interesting to note that after the loss to Pastor, Tony continued without a loss until he retired in 1942. In spite of this great record he would never get that elusive shot at the title.

In 1944 Tony embarked on a comeback. He had seven bouts winning three, losing two, with one ending in a draw. He retired for good in 1944.

Boxing’s Elder Statesman

When I got to know Tony he was showing the effects of the punches he took later in his career. I remember being told at the time that his managers, one of whom was a relative that I shall not name, kept him fighting to cash in on his reputation. At this point Tony’s legs were not what they used to be and he was taking punches he easily would have avoided as a younger man. Once again, that dark side of boxing reared its ugly head.

I spent many an afternoon talking with Tony in the New Garden Gym. He aways stressed the importance of the left jab to me. He would say “Kid, keep hitting ‘em with the left, and every once in a while toss in a right so they don’t get bored.” He also stressed to me to always fight fair. He told me “Even if the other guy pulls stuff on you never sink to his level.”

There is a sign at the corner of Bowdoin and Cambridge Streets in Boston that names it “Anthony Sciucco Square”. There are two things wrong with this sign. One, it is a Gold Star sign that is meant to remember a fallen soldier. Two, it should read Anthony “Tony Shucco” Sciucco Square, and have a pair of boxing gloves on it. Maybe some politician will read this and correct that oversight.

Tony Shucco passed away February 26, 1983. It was an honor to know this great man. I know his family is very proud of him. It is time Boston rediscovers him. He was one of its greatest athletes, and a man who always fought fair even though he wasn’t treated that way.

Video: Shucco vs Lydon:

NEW REPERTORY THEATRE PRESENTS
 THE BOSTON-AREA PREMIERE OF 
IDEATION

Theatre Announcements,

BY AARON LOEB
DIRECTED BY JIM PETOSA
SEPTEMBER 2-24, 2017

“This season we felt compelled to look at the resilience of the human spirit,” says Artistic Director Jim Petosa. “At a time when it is increasingly difficult to decipher truth from fallacy in politics and the news, Ideation allows us to explore actions of thought in the creation of realties. In this thrilling, and darkly comic mystery, the truth becomes so twisted that we begin to question everything. We’re asking those who see the show to please spread the word, but don’t give away the ending!”
“After the tremendous success of last year, we’re thrilled to present another remarkable season at New Rep,” says Managing Director Harriet Sheets. “Our first production of the season takes us deep into the inner-workings of a fast-paced consulting firm and their a-list team. Joining us on that team are a number of New Rep regulars: Christine Hamel, Lewis D. Wheeler, and Ed Hoopman, along with Jake Murphy, who made his New Rep debut last season, and newcomer Matt Ketai. We welcome them all for what is sure to be one of our most talked about productions of the season!”

In Aaron Loeb’s darkly comic psychological thriller, a group of top-tier consultants are tasked with a mysterious project for an unnamed client. The team must come up with a solution to a morally and ethically ambiguous hypothetical—one that threatens to tear the team apart. Ideation is a captivating new work that will leave you on the edge of your seat.

CHRISTINE HAMEL* (Hannah) returns to New Repertory Theatre after performing in Brecht on Brecht, Broken Glass, On the Verge, Ragtime, and Sweeney Todd.
ED HOOPMAN* (Ted) returns to New Repertory Theatre after performing in Mister Roberts, Indulgences and touring productions of Macbeth and Hamlet. Recent credits include Camelot (Lyric Stage Company); and Finish Line (Boston Theater Company/Boch Center).
Mosesian Center for the Arts321 Arsenal Street, Watertown, MA 02472
For more information:Telephone: 617-923-8487
newrep.org

Commonwealth Shakespeare Company Announces 2017-2018 Season

Theatre Announcements

Season includes Fear and Misery in the Third Reich,
Old Money, Death and the Maiden,
Richard III on Boston Common, and more

Steven Maler

Commonwealth Shakespeare Company (CSC) Founding Artistic Director Steven Maler announced today the 2017-18 Season, to be presented at the Sorenson Center for the Arts at Babson College in Wellesley, as well as in downtown Boston.

Mr. Maler explained the themes connecting the season offerings: “William Faulkner said ‘The past is never dead. It’s not even past.’  I keep coming back to this quote as I think about the world we find ourselves in today, as we struggle to make sense of our rapidly changing world. Industries are being disrupted, politics are being disrupted, lives are being disrupted. In this sea of change, where norms are being upturned and the future is murky, I wanted to look at how great writers responded to mercurial times, how they captured the fleeting moments of civic and personal decisions when history was not yet inexorably fixed, when a change of direction was still possible. These plays capture the subtle, and not so subtle, fissures in the daily domestic tapestry as the Nazi’s came to power in Germany in Bertolt Brecht’s Fear and Misery in the Third Reich; the half-lives of destruction in the wake of a tyrannical military dictatorship in Ariel Dorfman’s Death and the Maiden; the power of money, both old and new, in Wendy Wasserstein’s Old Money; the chaos and devastation of political instability in Macbeth; and of the destructive rise and fall of one of Shakespeare’s most riveting villains in Richard III. It’s an intense season for an intense time, a season of plays that we hope provoke deep thought about how we want to be remembered by history.”

Fear and Misery in the Third Reich:  A Staged Reading
by Bertolt Brecht, translated by Eric Bentley, directed by Steven Maler;
featuring Tony Shalhoub and Brooke Adams
Monday, November 13, 2017 at 7:00 P.M.
Carling-Sorenson Theater, Babson College

Brecht’s series of 18 interconnected playlets describe what life was like in German households in the 1930s as the Nazis came to power. Written while Brecht was in exile in Denmark and first performed in Paris in 1938, these poignant stories dramatize the suspicion and anxiety experienced by ordinary people, particularly Jewish citizens, as the power of Hitler grew. The reading features renowned film and theater actors Tony Shalhoub and Brooke Adams.

Theatre in the Rough is a script-in-hand reading series presented without common theatrical elements like sets or costumes. These pared-down readings uniquely engage the audience by immersing them in the immediacy of the text and the actors’ performances, allowing one’s own imagination to take creative flight.


Death and the Maiden           
a play by Ariel Dorfman, directed by Steven Maler
January 30–February 11, 2018
Sorenson Black Box, Babson College

After the fall of the totalitarian regime in a South American country, a former political prisoner finds herself face to face with the man she believes was her captor, a sadistic doctor who’s face she never saw. Is he guilty beyond a reasonable doubt, or is her paranoia getting the better of her?

Old Money
by Wendy Wasserstein, directed by Karen McDonald
March 6–18, 2018
Carling-Sorenson Theater, Babson College

A dinner party in a fashionable home offers a rich and witty look at social classes and issues of wealth and privilege — from the Gilded Age of the early 20th century to the present day.

Macbeth
by William Shakespeare, directed by David Gammons
featuring the CSC2 Company of early-career actors
Carling-Sorenson Theater, Babson College
June 1, 2018 Shakespeare’s classic tragedy dramatizes the damaging effects of political ambition on those who seek power for its own sake.

Richard III – Free Shakespeare on the Boston Common!
by William Shakespeare, directed by Steven Maler


July – August, 2018Shakespeare’s searing chronicle of a ruthless leader’s ascension through betrayals and multiple murders, and the devastation he leaves in his wake as he gains power over the realm.

In addition, CSC presents its annual series, Shakespeare and the Law and Shakespeare and Leadership as follows;

Shakespeare & the Law: Measure for Measure
Directed by Adam Sanders
Tuesday, September 26, 2017 at 6:00 P.M.
Lyric Stage Company, 140 Clarendon Street, Boston

Info: commshakes.org  617-426-0863

Ogunquit Playhouse Set to Stage the World Premiere of Heartbreak Hotel

Theatre Announcements, ,

The Story Of Elvis Presley’s Early Years To Run August 30 though September 20

From the creator of Tony Award-winning musical Million Dollar Quartet, the Ogunquit Playhouse is proud to produce the World Premiere of Heartbreak Hotel, as part of its 85th anniversary season, on stage August 30 to September 30. This brand new musical tells the story of Elvis Presley’s journey from an unknown musician to the cusp of his super-stardom. This new musical features hit songs from the King himself, as well as the legends who influenced his iconic music, with chart-toppers including “Blue Suede Shoes,” “Tutti Frutti,” “That’s All Right,” “Shake Rattle and Roll,” and, of course, “Heartbreak Hotel.”

Executive Artistic Director Bradford T. Kenney stated, “Throughout this year I have had the privilege of working very closely with Floyd Mutrux, the creator of the Tony Award-winning musical Million Dollar Quartet on its prequel, Heartbreak Hotel, now making its premiere on our stage. It has been an incredible journey working hand in hand with Floyd, the commercial partners, and Authentic Brands Group/Elvis Presley Enterprises, to bring the rich story and music of Elvis to life. Elvis became one of the great icons of our popular culture. He made a lasting imprint on our society, and his career changed the course of popular music, not only in our country, but around the world – all during a time of great change in America. I am thrilled that Ogunquit audiences will be the first to see this exciting new show.”

Eddie Clendening

This brand new tribute to the “King of Rock ‘n’ Roll” features actors who also play all their own instruments. It stars Eddie Clendening in the role of Elvis Presley, as well as Co-Musical Director. Mr. Clendening originated the role of Elvis in the Broadway production of Million Dollar Quartet, which he played for 1500 performances, and later Off-Broadway for 523 performances. He will recreate the role for this tender story that follows Elvis Presley in the early years of his bourgeoning career as he and Sam Phillips create the music that will forever change their lives. As Elvis’ career skyrockets, both lifting and shattering the lives of those he loves, a secret love story is revealed, a betrayal is discovered, and “Colonel” Tom Parker changes the course of history. When describing the show, Writer/Director Floyd Mutrux explained, “This is the story of 18 months of the life of a truck driver, and how he and his music impacted the world around him.”

Jerry Kernion makes his debut at the Ogunquit Playhouse as Col. Tom Parker, Elvis Presley’s long-time manager. Mr. Kernion has performed around the world with The Reduced Shakespeare Company for the last 15 years; many regional and international productions including Cirque du Soliels’ The Beatles, LOVE, Cirque du Soliels’ Banana Shpeel; and various shows at regional theatres including Laguna Playhouse, Merrimack Repertory Theatre, San Diego Repertory Theatre, and many more.

Joining the cast as Sam Phillips, the record producer who founded Sun Records and is credited with discovering Elvis Presley, is Matt McKenzie. He recently debuted on Broadway in Monday After the Miracle with Jane Alexander, directed by Arthur Penn. He’s played leading roles at many regional theatres across the country. In the Academy Award-winning film Gods and Monsters, he played Colin Clive opposite Sir Ian McKellan.

Also returning to the Ogunquit Playhouse is Christopher Sutton who will portray Dewey Phillips, one of Rock ‘n’ Roll’s early disc jockeys. He was last seen on the Ogunquit stage as Prince Herbert in Spamalot.

Los Angeles music scene veteran Geno Henderson serves as Co-Music Director and also appears as B.B. King, Ike Turner and Chuck Berry in this production. Mr. Henderson is a guitarist, vocalist and songwriter, who has toured, recorded and/or made television with: The Gap Band (featuring Charlie Wilson), The Pointer Sisters, Billy Preston, Roberta Flack, James Ingram and Patti Austin (at Carnagie Hall), Smokey Robinson, Sly Stone, and many others. In 2011, he made his Broadway debut originating the role of Jocko Henderson in the musical Baby It’s You.

Bassist Nathan Yates Douglass returns to the Ogunquit Playhouse as Bill Black, one of the pioneers of Rock ‘n’ Roll music and bassist in Elvis Presley’s trio in the early days of his career. He was last seen on the Ogunquit stage in the 2016 production of Seven Brides for Seven Brothers and Million Dollar Quartet. His National Tour credits include The Buddy Holly Story and The Tammy Wynette Story, and Off-Broadway On the Bum.

Drummer Jamie Pittle will perform as DJ Fontana, a drummer for the Louisiana Hayride radio broadcasts and Elvis Presley’s drummer for fifteen years. Mr. Pittle appeared Off-Broadway in the US Premiere of Missed Connections and Requiem for a Lost Girl. In regional theatres he has appeared in Million Dollar Quartet as Fluke, and The Buddy Holly Story as Jerry Allison. Guitarist Matt Codina will make his acting debut in Heartbreak Hotel as Scotty Moore, the guitarist and recording engineer who was known for backing Elvis Presley in the first part of his career, up to the beginning of Elvis’s Hollywood years.

Brenna Bloom portrays Marion and the queen of Rockabilly, Wanda Jackson. She has performed Off-Broadway in One Day and in regional theatres in such productions as Spring Awakening, Chicago, Grease and A Chorus Line. Erin Burniston plays Elvis’ girlfriend Dixie Lock. She recently performed in the National Tour of Spring Awakening and in regional theatre productions of Gypsy, La Cage Aux Folles, Hello, Dolly!, George M!, Seven Brides for Seven Brothers and many more.

Director and writer for Heartbreak Hotel is Floyd Mutrux, who is the co-author of the Tony award-winning Million Dollar Quartet and the co-author/director of the Tony nominated Broadway production of Baby It’s You!

Individual tickets are on sale and prices start at $52 each.  www.ogunquitplayhouse.org  Box Office: 207-646-5511.

2017-2018 Boston Theatre Season Gets Underway

Theatre Announcements

Lyric Stage, SpeakEasy Stage Company, and Huntington Theatre
Light Up In September

An exciting new theatre season is about to get underway in Boston. Three of our best local companies will soon be raising their curtains in what promises to be an exciting season of both new and classic works. We are lucky to have so many great companies in Boston and this should be another great year of theatre.

Huntington Theatre Company Presents

Merrily We Roll Along

Over at the Huntington Theatre Stephen Sondheim’s legendary musical Merrily We Roll Along will open on September 8th and run through October 15th. Director Maria Friedman will recreate her critically acclaimed West End production for the Boston stage, a production that received the most five star reviews in West End history.

Stephen Sondheim

It also received praise from Stephen Sondheim who said “This production of Merrily We Roll Along is not only the best I’ve seen, but one of those rare instances where casting, direction, and show come together in perfect combination, resulting in the classic ideal of the sum being greater than the parts.”

The cast includes Mark Embers and Damian Humbly who will reprise their roles from the London production, Aimee Doherty who was in last year’s Huntington production of Sunday In The Park With George, and Jennifer Ellis who was just spectacular in last year’s SpeakEasy production of The Bridges Of Madison County.

huntngtontheatre.org 617.266.0800

Men On Boats
At The SpeakEasy Stage Company

From September 8 to October 7, 2017, SpeakEasy Stage Company will proudly present the Boston-area premiere of MEN ON BOATS, a comic adventure tale about an actual 1869 expedition to chart the Colorado River, brought thrillingly to life by a diverse non-male cast.

 

Men On Boats

The play is the work of Brooklyn resident Jaclyn Backhaus, who stipulates that, while the characters in the play were historically cisgender white males, the cast should be made up entirely of people who are not. “I am talking about racially diverse actors who are female-identifying, trans-identifying, genderfluid, and/or non-gender-conforming,” notes the playwright in the script.

The result is a hilarious historical pageant that offers both a provocative and contemporary lens through which to view our shared past.

Somerville resident Dawn M. Simmons will direct SpeakEasy’s Boston Premiere production of MEN ON BOATS. In addition to her many directing credits, Ms. Simmons is co-Artistic Director of New Exhibition Room, Artistic Lead with The Front Porch Theatre Collective, a member of the StageSource Board, and Director of Performing Arts for Boston Center for the Arts.

To go on this journey with her, Ms. Simmons has assembled a talented crew of Boston-based actors: Lyndsay Allyn Cox, Ally Dawson, Veronika Duerr, Bridgette Hayes, Alice Kabia, Mal Malme, Cody Sloan, Robin Javonne Smith, Hayley Spivey, and Ellie van Amerongen.

The all-female design team is Jenna McFarland (scenic); Rachel Padula-Shufelt (costumes); Daisy Long (lighting); and Elizabeth Cahill (sound).

MEN ON BOATS will run for five weeks, from September 8 through October 7, in the Roberts Studio Theatre in the Stanford Calderwood Pavilion at the Boston Center for the Arts, 527 Tremont Street in Boston’s South End.

www.SpeakEasyStage.com 617.933.8600.

Gypsy
A Musical Fable
At The Lyric Stage

Once again, this year the Lyric Stage will take a lavish Broadway production and set it in the intimate confines of the theatre on Clarendon Street in Boston. My Fair Lady and Camelot both received rave reviews in the last two seasons and the Lyric has shown the magic that can be made by producing intimate versions of these classic musicals.

Featuring Leigh Barrett as Rose, Kirsten Salpini as Louise, Kira Troilo as June, and Steven Barkhimer as Herbie plus direction and choreography by Rachel Bertone audiences will have high exceptions for this production. I doubt the Lyric will let them down.

Jule Styne

With music by Jute Style and lyrics by Stephen Sondheim, Gypsy is one of the iconic musicals in theatre history.

Tickets tend to sell fast for these Lyric Stage musicals, so I would urge you not to wait long. Gypsy runs from September 1st through October 8th.

lyricstage.com 617.585.5678

 

Ragtime, A Delightful and Thought Provoking Syncopation In Ogunquit

Theater Reviews

Ragtime
The Ogunquit Playhouse Through August 26th

reviewed by Bobby Franklin

As the musical Ragtime begins it appears to be a bit overwhelming. The play has a huge cast, and I wondered how I would keep track of all the characters and what was going on. I soon realized that it was like watching a huge chess board with numerous pieces that were constantly in motion. All of these pieces had a purpose that soon became very clear.

Cast of Ragtime
(Photo: Gary Ng)

The story, set in early 20th Century America, revolves around three groups of people, the established old guard, the recent immigrants (Mostly from Eastern Europe), and African Americans. The struggles, pain, hopes, disappointments, coping with change, successes, failures, and tragedies are all captured in this work. And while it takes place over a hundred years ago, many of these struggles are constant in a free society that is continually dealing with changes. It is what makes the United States so great while also so vulnerable to making mistakes.

Ragtime has a truly marvelous score. The fact that so much of it is played with the delightful syncopations of ragtime is fitting. Fitting because the new music of the time represents so many of the changes then occurring. I am not a musician but I felt there was more to the music than just being used as a period piece, so I looked up the definition of syncopation. I found it is a term for “a disturbance or interruption of the regular flow of rhythm” a “placement of rhythmic stresses or accents where they wouldn’t normally occur.”; and that is just what is going on in Ragtime.

This fine production captures so well that interruption of the regular flow in the lives of all involved. Everyone one involved is dealing with change, drastic change. Tateh (Josh Young) the Jewish immigrant from Latvia who has brought his young daughter to America in the hope of giving her a better life, Coalhouse (Darnell Abraham), the African American musician, who has worked hard to make a good life for his family, the unnamed father and mother (Jamie LaVerdiere and Kirsten Scott) who are faced with the “interruption” in their way of living they have known for some time.

For one it turns out well, for another tragic, and for another transformational. It is fascinating, though at times overly predictable, to watch. It is also quite thought provoking because none of the issues addressed are simply black and white. What is to be done when change doesn’t occur fast enough? When justice is not equally applied? Is vengeance ever justified? We hear from Booker T. Washington (Rod Singleton), Emma Goldman (Klea Blackhurst), and Admiral Peary (Joel Robertson).

The discussion between Washington and Coalhouse after a terrible injustice has occurred is very thought provoking. How to deal with such injustice is a question that is not easy to answer.

Josh Young and Ella Luke-Tedeschi (Photo: Gary Ng)

Though dealing with so many serious questions, this is also a lively and funny play. There are appearances by Harry Houdini (Freddie Kimmel) and the singer Evelyn Nesbit (Carly Hueston Ambur), and a wonderful scene at a baseball game that captures the fun of the early game but also shows the difficulty in some being able to accept the changing ethnicities of the players.

The score is superb. It flows smoothly and keeps the story connected. Darnell Abraham’s rendition of Make Them Hear You is particularly powerful not only in its lyrics but because of the deep emotion Abraham brings to it.

As I have said, this play has a huge cast so it is impossible to give credit to all of the excellent performances in the limited space I have. However, I have to mention one member of the cast that not only impressed me but who also had the audience talking about him after the show.

Seven year old Tyler Wladis as The Little Boy was just phenomenal. I have never seen such talent in someone so young. Tyler had a huge part with many lines, both opening and closing the play. His opening monologue set the tone for what was to unfold. His expressions and movements about the stage were just impeccable. This young man has an energy and timing that is truly amazing. He was simply a joy to watch and will surely be seen again.

Ragtime at the Ogunquit Playhouse is an interesting and well done work. It is thought provoking and fun. It will provoke much discussion afterwards. I would just warn you not to take a position of moral superiority when having a conversation about it. Remember, just because someone has views that differ from yours or is not from the same socio economic background does not mean they are evil. I firmly believe that the vast majority of the American people only want better lives for their families and for others. The approaches to the problems facing our society may be different, but if you keep in mind our goals are similar and meant for the better it will maybe, just maybe, make it easier for us to talk to each other.

Ragtime shows us the difficulties in dealing with change, but change will always be occurring as it always has. We can deal with it. Let’s tone down the moral superiority and stop the shouting and lecturing. That is what I have taken away from this wonderful play. It will never be easy, but there s much more kindness than cruelty out there. We just need to listen.

Ragtime Through August 26th
Ogunquit Playhouse, Ogunquit, Maine
ogunquitplayhouse.org
207.646.5511

Ragtime Opens At The Ogunquit Playhouse

Theatre Announcements

Tony Award Winning Musical Plays August 2nd Through August 26th

Ragtime, the Tony Award winning musical, will run at the Ogunquit Playhouse from August 22nd through August 26th. In addition to a cast and creative team made up of Broadway veterans, it will also feature the original Tony nominated costumes by Santo Loquasto.

Ragtime tells the story of three families trying to find their way during the turn of the twentieth century in New York City; each struggling with the changing cultural climate in America and each facing the promise of hope and new beginnings in the midst of prejudice and bigotry. A stifled upper-class wife, a determined Jewish immigrant and a daring young Harlem musician are each united by their courage, compassion and belief in the promise of the future. Together, they confront history’s timeless contradictions of wealth and poverty, freedom and prejudice, hope and despair… and what it means to live in America. Written by the award-winning composer/lyricist team of Stephen Flaherty and Lynn Ahrens, Tony Award-winning playwright Terrence McNally, and based on E.L. Doctorow’s distinguished novel, Ragtime is the winner of the 1998 Tony Awards for Best Score, Book and Orchestrations, and both the Drama Desk and Outer Critics Circle Awards for Best Musical and Best Score.

“Truly a story we need to tell at this point in our nation’s history, Ragtime is one of the most powerful shows ever written for the stage, and possibly my favorite show of all time,” stated Executive Artistic Director Bradford Kenney. “To tell this compelling story we have brought together a stellar creative team led by Director Seth Skylar-Heyn. Broadway set designer Tim Mackabee has also joined the team to create an all-new set for our Ogunquit production. I am looking forward to a production of Ragtime that we all will be so very proud of.”

The Ogunquit production of Ragtime will be directed by Seth Skylar-Heyn who has served as Executive Producer for Cameron MacKintosh Inc. in New York. He is also the Executive Producer and Associate Director for the 2017 Broadway revival of Miss Saigon.

Kirsten Scott

The cast includes Kirsten Scott making he Ogunquit Playhouse debut. Ms Scott has played in numerous Broadway productions including Follies, Big Fish, and Jersey Boys.

Also making his Playhouse debut is Jamie Laverdiere whose Broadway credits include The Producers, Pirate Queen, and Motown. He has also played in the National Tours of Urinetown, Motown, and A Chorus Line.

Other members of the cast include Josh Young, last seen in Ogunquit in Les Miserables, Darnell Abraham who was in the Barrington Stage Company’s production of Ragtime, Lindsay Roberts, IRNE Nominee for Best Supporting Actress for her 2016 performance as Queenie in Fiddlehead Theater’s Showboat.

ogunquitplayhouse.org
207.646.5511

Dempsey vs Sharkey: Protect Yourself At All Times

Boxing Articles, ,

Did Dempsey Hit Sharkey Low?

by Bobby Franklin

On September 23, 1926 Jack Dempsey lost the Heavyweight Championship of the World to Gene Tunney. Dempsey had been inactive for three years before the bout while Tunney had been racking up wins and staying sharp. After the bout there was a clamor for a rematch, but things were a bit different in those days. Even a former champion had to earn his right to a return title bout.

Dempsey, while champion, had agreed to fight Harry Wills but the fight fell through when the promoters failed to come up with Dempsey’s guarantee. Instead, Dempsey went on to face Tunney. Meanwhile, Boston heavyweight Jack Sharkey was compiling a solid record of wins including beating Harry Wills by disqualification. Though Jack won by a foul because Wills was repeatedly backhanding the him, the outcome was never in doubt as Sharkey had administered a severe beating to Wills before the fight was called in the 13th round. This paved the way for a Dempsey vs Sharkey bout with the winner to face Gene Tunney for the title.

Going into the fight Sharkey had gone unbeaten in his last 13 bouts with wins over such men as George Godfrey, Jimmy Maloney, and Mike McTigue. Sailor Jack was brash, cocky, colorful, and a bit erratic. He was also supremely confident he would beat Dempsey. The oddsmakers agreed with him making Sharkey a 7-5 favorite.

The public was very enthused with this matchup as 82,000 fans showed up at Yankee Stadium on July 21, 1927 to witness the fight. Celebrities were there in abundance including Admiral Richard Byrd, Composer Irving Berlin, Flo Ziegfeld, and theatrical producer David Belasco. The gate was an amazing $1,083,530.00, the largest for a non title fight. Dempsey received $252,759.00 and Sharkey’s share was $208,803.00, huge money for the time.

Both fighters were in great shape, but Sharkey was seven years younger and hungry for a title shot. While Dempsey had showed signs of slowing down he was, well, he was still Jack Dempsey and not one to take lightly. The Manassa Mauler was in there to win.

After receiving instructions from referee Jack O’Sullivan the bout began. Sharkey came out very strong in the first round and had Dempsey hurt almost immediately. Sharkey was fighting beautifully, using a very effective right uppercut and a marvelous jab to keep Dempsey off balance. He continued beating Dempsey to the punch for six rounds and it only appeared to be a question of whether or not Sharkey would win by kayo or decision. It did not look good for the former champ.

Though taking a beating, Dempsey was tenacious. He was also doing a very effective job of going to Sharkey’s body. Jack Dempsey knew he couldn’t stand up straight and trade head shots with Sharkey, so he did what he did best, he fought out of his famous crouched attacking the midsection. While Dempsey was hurting Sharkey with those body shots, he was paying a heavy price having to absorb Sharkey’s uppercut and solid left jab. It is overlooked, but Sharkey had one of the best left jabs in the history of the heavyweight division.

As I have written, it just appeared to be a matter of time until the fight went to Jack Sharkey. However, if you watch closely you can see how the body punches were starting to bother Sharkey. As a matter of fact, he came into the ring wearing his trunks quite high in anticipation of Dempsey banging away to the breadbasket. He could use the high waist line as a way to argue Dempsey’s blows were low and hope the referee would warn him to keep his punches up. Sharkey had won three fights in addition to the Wills fight by disqualification. Was it possible he was using that as an ace in the hole in case things weren’t going well? If he did it certainly backfired on him.

At the bell for the seventh round Dempsey stepped up his attack on Sharkey’s body. If you look closely at the film you can see Sharkey was being bothered by those blows. With about thirty seconds gone in the round Dempsey landed lefts and rights to the body. He landed a right hand to Sharkey’s body that appears to land just about at the belt line. Now remember, Sharkey wore his trunks high so this would be in legal territory. Even if his trunks were worn at normal height the belt line is still fair game.

Here’s my take on this controversial fight; Sharkey was being worn down by Dempsey’s relentless body punching. He had hit the former champ with everything he had and Dempsey just would not slow up. Sharkey had thrown a lot of punches. Combine that with the brutal body punches he absorbed and, even though he was way ahead in the bout, he was wearing down. The final right hand Dempsey landed to the body hurt Sharkey a lot. That’s when Sailor Jack made the fatal mistake of dropping his hands and turning to the referee to complain he had been hit low. The second Dempsey saw that opening he fired off a left hook to the face that floored Sharkey. Referee O’Sullivan counted the Gob out.

Now, that punch may have felt low to Sharkey because it was a brutal shot, but I think Jack had had enough of getting hit to the body and was going to try for the disqualification win. The mistake he made was in complaining to the referee while still on his feet. If he had dropped to the canvas and grabbed his groin he may have gotten somewhere with the complaint. Dropping his hands while within punching range of the great Jack Dempsey was about the dumbest thing he could have done. Sharkey broke the first rule of boxing, “Protect yourself at all times.”

Jack Dempsey would go on to have a rematch wth Gene Tunney in what would turn out to be another controversial fight that became known as The Long Count. Sharkey would also be involved in a controversial fight when he took on Max Schmeling for the title vacated by the retirement of Gene Tunney. In this bout Sharkey would lose by a disqualification when Max claimed to be hit by a low blow. Schmeling was a little smarter than Sharkey as he dropped to the canvas before complaining to the referee. Things may have been different if Jack had one the same with Dempsey.