All posts by Bobby Franklin

Talking With Brandon G. Green

Theater Interviews, , ,

Award Winning Actor To Play
Benvolio In Commonwealth Shakespeare’s
Romeo and Juliet

by Bobby Franklin

For its 22nd season Commonwealth Shakespeare Company will be presenting Romeo and Juliet on the Boston Common. The production, which is free to the public, will run from July 19th through August 6th.

Brandon G. Green

Brandon G. Green, will be taking on the role of Benvolio, Romeo’s cousin and friend. Brandon grew up in Selma, Alabama and earned his Bachelor’s Degree from Alabama State University. He moved to the Boston area to attend Brandeis University where he received his MFA. He now teaches at Brandeis.

Most recently he was seen on a Boston stage in the part of Mr. Tambo in the critically acclaimed SpeakEasy Stage production of The Scottsboro Boys. He also won the 2016 Elliot Norton Best Actor Award for his role in the Company One/Arts Emerson production of An Octoroon.

I had a chance to speak with Brandon before rehearsal at the Sorenson Center for the Arts at Babson College in Wellesley.

When we began our conversation I was struck by his rich, deep voice. I could immediately imagine Brandon in the role of the peacemaker Benvolio. His tone would convey both a calming effect and a command that would certainly enable his message to be heard and understood. Accepting that message will prove to be another thing.

Brandon Green grew up in Selma, Alabama. I asked him if there was much opportunity there for a student to pursue acting. “I went to a school that was very much about the arts when I was in the 6th grade, the School of Discovery. I got the bug there. Well, I actually had the bug before then.”

When I asked about what he used as an outlet in his younger, pre 6th grade days, he responded “Yes, I had the bug way before then. I would take part in school assemblies, Christmas Plays, as well as at church.” Was he a class clown? “No, actually, I was really quiet, very quiet. In high school I was in the marching band and choir. There wasn’t a lot, but what they did have helped me out.”

He recalls his time at Alabama State University in Montgomery fondly, “It was a really amazing program. I would argue it is one of the best undergraduate programs in the country.”

“I kind of feel like I’m playing a bit of myself…”

Our conversation turns to his latest project, playing Benvolio for CSC. “I kind of feel like I’m playing a bit of myself. The peacemaker almost reluctantly taking care of his cousin. Benvolio has his own things but he is definitely there for Romeo, and definitely the peacemaker. I was very much that in my friend circles. I was also the one people would come to for counsel in a way. I found myself there a lot of times, and there were times I was in need of a Benvolio in my life.”

Kai Tshikosi (Tybalt) and Brandon Green (Benvolio)

When I ask about Benvolio being a voice of calm and reason in a play where so many characters are irrational, Brandon gives some insight. “Benvolio means good will, well wisher, peacemaker. I feel like the straight man to a lot of the chaos that goes on. He is the cool head that is trying to prevail and survive in a way.” Why is Benvolio no longer in the play after Act I? “The peacemaker in this world has decided go away. He’s not there and that dims the lights a bit.”

Brandon tells me he has always loved Shakespeare. At Selma High while in the 10th grade he took a theatre arts class. He remembers, “LeBaron Mack taught us the Scottish Play (MacBeth). It was my first way into it and I fell in love with it there. When I got to Alabama State I saw Othello. It was amazing.” Brandon would go on to the Shakespeare Theatre of New Jersey in 2010 and then to Brandeis where he got more training in classical theatre. Two years ago he played Oswald in the CSC production of King Lear.

Fight Director Angie Jepson, Kai Tshikosi, and Brandon Green.

Does he have a dream role? “I kind of already played it and that was in An Octoroon. I could not have dreamt up that role. It scared me. That was the perfect storm. A role that called on all my facilities as a performer. It was fun. It was challenging to myself and the audience. I got to let loose in a way I wanted to, or that I didn’t know I wanted to. I will carry that with me forever.”

As our conversation winds down I ask Brandon why people should see the CSC production of Romeo and Juliet on the Boston Common. “It is a magical experience. I truly believe that. Also, seeing a cast this diverse telling the story is incredible. There is nothing like this, it is transformative. You are out there with thousands of people. It’s crazy and it’s beautiful. A very unique experience.” His enthusiasm is contagious.

“Theatre is a collaborative between the audience and the performers..”

In closing I ask Brandon what he would like to say to the audience. I found his comments very thoughtful, sincere, and important. “Theatre is a collaborative between the audience and the performers, so please, we need your energy as much as you need ours. It’s reciprocal.”

Shakespeare said “All the world’s a stage.” Well, you have a wonderful opportunity to share that stage this summer with a very talented and committed actor. Join Brandon Green and the rest of the Commonwealth Shakespeare Company on the Common for what will surely be a great experience.

Romeo and Juliet
Boston Common
July 19 through August 6
commshakes.org
617.426.0863

Photos by Bobby Franklin

The Hitmen Have A Hit In Ogunquit

Uncategorized, , , , , ,

Bullets Over Broadway

Ogunquit Playhouse

Through July 29

Reviewed by Bobby Franklin

Early in Bullets Over Broadway now playing at the Ogunquit Playhouse playwright David Shayne and a group of artist friends are discussing a hypothetical situation; If a building was burning down and the choice had to be made to save a person or the last remaining copy of the works of Shakespeare what would you choose to do? Shane and most of his friends said they would save the Shakespeare, as art was more important than the life of just one person. Later in the play he would be tested on this question and find the decision to be a bit more complicated.

Photo by Jay Goldsmith

Bullets Over Broadway is adapted from the 1994 Woody Allen film of the same. It has been turned into a musical, and after seeing both the movie and this fine production I have concluded it should have been a musical from the outset.

It does not have an original score. The music consists of catchy tunes from the period between World War I and II. Some of the songs will be familiar to the audience and some are fairly obscure. The music adds an atmosphere that was missing in the movie. It works and works well.

Playwright David Shayne, played with just the right amount of angst and comedy by the very talented John Rochette, has agreed reluctantly to compromise some of his artistic integrity by allowing the girlfriend of mob boss Nick Valenti to have a role in his play in exchange for having the gangster bankroll the production. Vincent Pastore, reprising his role from the original Broadway version of Bullets, is ideal as the man who takes time between musical numbers such as Gee Baby, Ain’t I Good To You sung to his ditzy girlfriend Olive played by Jemma Jane, to order hits on his enemies.

Photo by Gary Ng

Ms Jane is a hoot when she sings The Hot Dog Song, a saucy piece filled with double entendres and some interesting moves on her part. She appears to relish her role as the not so bright Olive. It is all such fun.

Reed Campbell is positively outstanding as Cheech, (“Not Mr. Cheech, it’s just Cheech.”), Valenti’s top hitman, who has been charged with keeping an eye on Olive as she attends rehearsals for the play. Cheech still finds time to make a hit while tending to Olive. There is an interesting scene where he and an accomplice take a victim for a ride while singing Up A Lazy River. Sure, it’s morbid, but it is also very funny.

Meanwhile, Shayne seems to be at peace with the deal he has made now that leading lady Helen Sinclair (Michele Ragusa) has agreed to star in his play. That peace is soon disrupted when he hears Olive rehearsing her lines with a voice that makes him cringe. He lights up the stage with I’m Sitting On Top Of The World. Mr. Rochette shows great chops as a song and dance man as he moves about the stage. He is very good.

Ms Ragusa does a fabulous job as the aging diva with a touch of Sunset Boulevard mixed in. Using an overly dramatic theatrical voice she is funny without becoming a caricature. She and Mr. Rochette are delightful singing There’s a Broken Heart for Every Light on Broadway.

This is musical theatre at it’s best. It is the Ogunquit Playhouse at its best.

One of the high points of the play, and there are many, is when Cheech and his fellow gangsters perform the song and dance number, Tain’t Nobody’s Biz-ness If I Do, Reed Campbell was absolutely fantastic with this high energy number and had many in the audience on their feet by the end. Campbell is an amazing talent who time and again wowed the crowd at the Playhouse.

In this interesting and funny story we see Cheech taking over authorship of the play as Shayne has to deal with having compromised his artistic integrity. Along the way we are treated to dancing hot dogs, an amazing set consisting of New York City rooftops, a train, vintage car, an actor who is also a compulsive eater who gives new meaning to growing into a part, and wonderful lighting. We are also gifted with the amazing Sally Struthers as Eden Brent who appears with her dog who also displays great acting ability. Ms Struthers take the stage in Ogunquit each season and never disappoints. She is the master of comedic timing.

This production is directed by Jeff Whiting who worked closely with Susan Stroman on the original production. He has recreated that direction and choreography for this show.

I want to add that both John Rochette and Reed Campbell are extraordinarily talented young actors. Having them share the stage with such experienced actors as Vincent Pastore and Sally Struthers is great to see. Both of these men have promising careers ahead of them. I could also say this about the entire cast. Everyone was wonderful. You could just feel the energy and excitement as it spilled into the audience. This is musical theatre at it’s best. It is the Ogunquit Playhouse at its best.

I rarely am disappointed by a show at the Playhouse, though there have been a few that aren’t on my see again list. But, the vast majority are extremely good. Bullets Over Broadway ranks as one of the best I have ever seen there. I strongly recommend you get to Ogunquit and see this production. I have a feeling tickets will be selling fast so I would not hesitate.

Oh, David Shayne finds he has a different answer to the question of whether or not to choose Shakespeare over the life of a human being when he is faced by the choice Cheech makes with dealing with Olive dragging the play down. It turns out Cheech has more artistic integrity, but David has found his humanity.

Bullets Over Broadway
Though July 29
The Ogunquit Playhouse
Ogunquit, Maine
ogunquitplayhouse.org
207.646.5511

 

Vincent Pastore and Sally Struthers to star in Bullets Over Broadway at the Ogunquit Playhouse

Theatre Announcements, , , , ,

Open July 5th And Runs Through July 29th

Vincent Pastore (Nick Valente) and Reed Campbell (Cheech) With Ensemble

The Ogunquit Playhouse takes audience on a hilarious trip back to the Roaring Twenties with their production of the musical adaptation of Woody Allen and Douglas McGrath’s madcap film, Bullets Over Broadway on stage from July 5 – July 29. Hailed by Time Magazine as “Musical Theatre Gold!,” Bullets Over Broadway is the side-splitting musical comedy about the making of a Broadway show, filled with tap dancing gangsters, saucy showgirls, big laughs and colorful characters. A young playwright who is in desperate need of financial backing for his next show accepts an offer he can’t refuse from a gangster looking to please his ditzy, talentless girlfriend. Stage and screen star Vincent Pastore is cast as the mobster Nick Valenti, joined by Emmy-winner Sally Struthers who returns to the Playhouse as the dog-toting Eden Brent. Loaded with songs that made the ’20s roar, this six-time Tony-nominated musical features hits from the decedent decade, including “Let’s Misbehave,” “‘Tain’t Nobody’s Biz-ness If I Do” and “There’s a New Day Comin’!”
Vincent Pastore makes his debut at the Ogunquit Playhouse reprising the role of Nick Valenti, which he originated in the Broadway production of Bullets Over Broadway. He is best known for his long running performance on HBO’s The Sopranos, as well as his work on HBO’s 1996 television movie, Gotti and ABC’s The Practice. His numerous film roles include Goodfellas, Revolver, Made, and The Hurricane. On stage, he has played the role of Amos Hart in Chicago. His Off-Broadway roles include Queen for the Day and Lampost Reunion.

Two-time Emmy Award and Golden Globe Award winner Sally Struthers joins the cast as the dog-toting Eden Brent. She is probably best known for her role as Gloria in the groundbreaking TV series All in the Family. She has also starred in the Fox television series 9 to 5 and her own CBS series Gloria, as well as recurring roles on the CBS comedy Still Standing and the CW network’s highly acclaimed Gilmore Girls. Ms. Struthers joined the Gilmore cast for Netflix’s new four movie limited revival, which premiered in the fall of 2016, and recently guest starred in the acclaimed IFC comedy series Maron. Sally Struthers has performed many roles at Ogunquit Playhouse including last season’s Anything Goes as the socialite Evangeline Harcourt, as the Duchess Estonia Dulworth in Nice Work If You Can Get It, as Louise Seger in Always, Patsy Cline, Mama Morton in Chicago, Paulette the hairdresser in Legally Blonde and as Felicia Gabriel in The Witches of Eastwick.

John Rochette is making his debut at the Ogunquit Playhouse as young playwright, David Shayne. On Broadway, he starred as Norm Waxman in Jersey Boys. Off-Broadway, he’s performed with Blue Man Group at Center Blue Man and some of his many regional credits include Elvis in Million Dollar Quartet, as well as Sir Lancelot in Spamalot and Frank N Furter in Rocky Horror Picture Show. He has performed on television on NBC’s Guiding Light, and on ABC’s One Life to Live and All My Children.

Joining the cast is Reed Campbell, in his Ogunquit Playhouse debut as Cheech. He 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. On television, he’s starred as C.O. Will Frank in Netflix’s hit series Orange Is The New Black and on NBC’s The Blacklist: Redemption. He is the co-creator of BROdway and Broadway Late Night on The Broadway Channel.

Reprising her role from the First National Tour of Bullets Over Broadway as Olive Neal is Jemma Jane. Her overseas credits include Audrey in Little Shop of Horrors, Texas in Cabaret, and as the Narrator in Joseph and the Amazing Technicolor Dreamcoat.
Kenny Morris is making his Ogunquit debut as Julian Marx, the producer that enlists the help of a wealthy gangster to help pay for David Shayne’s play. On Broadway, he’s starred in Hairspray, Les Miserables, and the 20th Anniversary of Jacques Brel is Alive and Well and Living in Paris. He was a member of the National companies of Kinky Boots, Hairspray, Sunset Boulevard, and Joseph and the Amazing Technicolor Dreamcoat. He was nominated for a Barrymore Award for Best Supporting Actor for his regional performance in Funnyman at Arden Theatre. He can be seen on film in Steven Soderbergh’s The Knick, and on television on ABC’s Law & Order: Criminal Intent and NBC’s Third Watch.
John Paul Almon joins the cast as Warner Purcell. His Broadway and National credits include, Karpathy in the Kennedy Center’s My Fair Lady, Tussaud in The Scarlet Pimpernel, and as a performer in the past twelve seasons of The Radio City Christmas Spectacular. Regionally he was in the World Premiere of The Bridges of Madison County at Williamstown, and in the Carbonnell Award-winning, Romeo and Bernadette at Paper Mill Playhouse.

Joining the cast as Helen Sinclair in her Playhouse debut is Michele Ragusa. On Broadway, she’s starred as Elizabeth in Young Frankenstein, as Evelyn Nesbit in Ragtime, and as Pennywise in Urinetown, among others. Regionally she’s performed in Mame, Hello Dolly, Monty Python’s Spamalot, Thoroughly Modern Millie, Into the Woods, Marry Poppins, and Boeing, Boeing, as well as headlining with numerous symphonies across the country.
Bridget Elise Yingling returns to the Ogunquit Playhouse as Ellen, after last being seen on the Playhouse stage in 2015’s Sister Act. She is a recent graduate of NYU Tisch School of the Arts, and has starred as Little Red in Into the Woods, and Millie in Thoroughly Modern Millie.

The ensemble members includes Blaire Baker, Jake Corcoran, Elizabeth Dugas, Carissa Fiorillo, Dan Higgins, Justin Jutras, Patrick Lavallee, Will Mann, Brian Martin, Vanessa Mitchell, Corinne Munsch, Kaylee Olson, Joey Ortolani, Kelly Peterson, Lexie Plath, and Ian Saunders.

Helming Bullets Over Broadway for the Ogunquit Playhouse is Jeff Whiting, who is recreating the original direction and Tony nominated choreography of five-time Tony Award winner Susan Stroman. He was associate director and choreographer on the Broadway production of Bullets Over Broadway alongside Stroman, and was director on the National Tour. Other Broadway credits include twelve-time Tony nominated The Scottsboro Boys, Big Fish, and Young Frankenstein as well as the National Tours of Hairspray and The Producers. A member of Disney’s Creative Team, he’s provided television direction for Disney’s Magical Moments Parade, as well as numerous shows and events such as Disney’s Very Merry Christmas, Disney’s 100 Years of Magic, and Disney’s Magic Mirror.
www.ogunquitplayhouse.org.  207.646.5511

 

 

The Four C Notes

Music, , , ,

The Four C Notes
Give A Barn Burner Performance
In Arundel

The Four C Notes
At Vinegar Hill Music Theatre
Arundel, Maine
Saturday June 17 and Sunday June 18

Reviewed by Bobby Franklin

The Four C Notes

Vinegar Hill Music Theatre has kicked off their second season with the return of the Four Seasons tribute group The Four C Notes led by John Michael Coppola. I attended the Saturday night performance at Vinegar Hill Music Theatre, and if this show was any indication of the upcoming season it is going to be a hot and lively summer in the converted barn that is one of the most beautiful venues for musical performances in Maine.

Dressed in vintage clothing and backed by a terrific seven piece orchestra, Mr. Coppola was joined by Aaron Davidson, Adrian Aguilar, and Tyler Ravelson. The Four C Notes do not impersonate the Four Seasons. What they do is put on a wonderful evening comprised of recreating the still very popular music of the group led by Franke Valli. They do this with energy, enthusiasm, and humor. Mr. Coppola sings the lead with his wonderful falsetto voice and he has what it takes. He also allows the other members of the group to showcase their talents, they all have theatrical backgrounds that add to their performances.

The show opened with Oh What A Night, and then the gang moved right into a medley of Sherry, Big Girls Don’t Cry, and Walk Like A Man. The crowd was already feeling excitement as they were clapping and singing along. This was a high energy performance. As the Cs sang Sunday Kind Of Love a cappella I thought that much of the Four Seasons’ music is actually a cappella with instruments added to it. This led into the very popular Can’t Take My Eyes Off Of You.

Mr. Coppola sings the lead with his wonderful falsetto voice and he has what it takes.

In case you are thinking this was strictly a concert with one song after another being performed, that was not the case. There was quite a bit of showmanship involved. The Four C Notes were beautifully choreographed as they moved about the stage with precision but also with an ease that was very natural. The banter was funny and informative. Each member had a distinct personality and they all had fun playing off one another. Tyler Ravelson was the self proclaimed “Bad Boy” of the group, and on top of his marvelous bass voice he also showed his acting ability. He shined when taking the lead on Beggin’.  Aaron Davis stepped forward for the Doo-wop number Cry For Me and put it over smoothly. It brought the audience back to the days of street corner singing.

Adrian Aguilar, who had been in Rocky, The Musical on Broadway, led on My Eyes Adored You. It looks like Adrian developed a knock out of a voice while in Rocky and he was in championship form on this night. I will pass on the Yo! Adrian jokes as I am sure he has been hearing them long enough.

In an interesting medley called The Ones That Got Away, the group showcased a number of Four Season Songs that never made it to number ten on the charts. These included Save It For Me, Opus 17, Tell It To The Rain, and Girl Come Runnin’. While I was not familiar with these songs they had the unmistakable Seasons’ sound that drove so many other songs to the number one spot.

Vinegar Hill Music Theatre

The band was showcased at the beginning of the second set as they performed an instrumental version of Grease. With one exception, they were made up of local talent drawn from the Maine and Boston areas and all were excellent. Two favorites of mine were there and were absolutely solid as usual. Rob Doquette on drums and the remarkable Tom Snow on keyboards. They are Maine’s gift to the music world.

In the second set things didn’t slow down a bit. The Four Seasons had a lot of hits and they were included here. Dawn, Big Man In Town, Workin’ My Way Back To You as well as Rag Doll triggered the nostalgia nerve in everyone there.

John Michael Coppola, who was in the Chicago production of Jersey Boys, is just superb in so many ways. He has made this show special in that it was really a night of great entertainment that left the audience shouting for more. His dedication shows alongside his gift as a performer and a singer, a gift that he has made great use of.

With the crowd on its feet there was certainly going to be an encore, and much like the finale of a Fourth of July fireworks display, the boys let it all rip out with Grease that featured each performer, and a reprise of Oh What A Night. What a finish to a great night, and Oh! What a night it was!

 

Jersey Joe and Muhammad

Boxing Articles, , ,

Walcott and Ali
A Contrast

It was a tragic irony that Ali ended up worse off than any of those who came before him.

Muhammad Ali used to enjoy making fun of his predecessors. He would mock them for being punchy. I remember seeing him do this in front of Joe Louis. Ali would put his finger to his nose pressing it flat and then speak while slurring his speech pretending to stumble around on unsteady feet. He would talk about how guys like Louis and the other champs took too many punches, couldn’t box as well as “The Greatest”, and ended up with their brains scrambled. He bragged how that would never happen to him because he was so much smarter and better than they were.

Holmes vs Ali

It was a tragic irony that Ali ended up worse off than any of those who came before him. By the time he was training for the Larry Holmes fight Ali was already showing serious signs of brain damage. Watching interviews and training footage as he was preparing for that bout you can hear him slurring his speech. His coordination was deteriorating as seen in his difficulty hitting the speed bag. Ali was 38 years old at the time and would lose by stoppage to Holmes. It was a sad sight.

Why did this happen to such a great “boxer”? Let’s compare him to another former champ who was still fighting when he was in his late 30s; Jersey Joe Walcott.

Jersey Joe was 37 years old when he won the Heavyweight Championship by knocking out Ezzard Charles. He would defend it against Charles before going on to lose it to Rocky Marciano in a fight in which Walcott was leading on the scorecards when he was kayoed in the 13th round.

Walcott also had given Joe Louis more than he could handle a few years earlier when he lost a highly disputed decision to the Brown Bomber. He dropped Louis twice in that bout. Louis would win a rematch by knockout, but not before hitting the canvas one more time.

Jersey Joe was a master of the Art of Boxing.

Ali got a lot of laughs making fun of the greats of the past. He not only went after them for supposedly being punchy, but he also demeaned their skills. Well, if Walcott was lacking in skills and Ali was so brilliant why is it Jersey Joe retired with his faculties still intact while Ali ended up a mental and physical wreck? You just have to watch footage of the two men in action and you will see what made the difference. Walcott was a brilliant technical boxer. He could move, he could punch, he was always in good physical shape (except for the times earlier in his career the he was so poor he couldn’t eat properly). He also knew how to avoid taking punishment. Jersey Joe was a master of the Art of Boxing. Watching him move across the canvas is something to behold. Walcott could feint, he could parry, he was always in position and on balance. He would turn and start to walk away from his opponent and then suddenly turn back with a lethal combination. Witness his knock out of Ezzard Charles where Joe very nonchalantly steps in with a half hook, half uppercut to win the title. Just amazing.

Walcott vs Charles

Walcott and Ali both had their last fight at the age of 39. Ali had a total of 61 fights while Walcott had 71. Walcott fought professionally for 23 years, Ali for 21 years. Ali was off for three and a half years when he was banned from boxing, so he actually had around 18 years of activity. Walcott was stopped six times. With the exception of the Marciano and Louis fights these stoppages were earlier in his career when he was struggling to survive. Ali was stopped just once, by Holmes; however, he took a lot more punches than Walcott did.

The difference between the two was in their skills. Walcott actually got better with age. Ali deteriorated as he got older. But why?  Ali depended on his speed when he was younger. He was amazingly fast and had great reflexes. As he got older he began to lose that speed, and without it he started taking punches. He did not have the skills to to avoid being hit. He was no Jersey Joe Walcott. In fact, Ali depended on his ability to take punishment in order to win fights. During training sessions he would allow his sparring partners to unload on him. In a bizarre way he seemed to think by taking more punishment he was toughening himself for his upcoming matches. This took a terrible toll on him. Sure it made for exciting fights, but as can be seen in his fights with the likes of George Foreman, Ron Lyle, Ken Norton, Joe Frazier, and very notably, Earnie Shavers, he took some fearful shots. It is no wonder he ended up the way he did.

Jersey Joe Walcott

Walcott, on the other hand, always worked on his defense. He would spend hours in training honing his defensive skills, shadow boxing, working in front of the mirror, watching other fighters. Most importantly, he would work at not getting hit while sparring. When it came to true boxing skills Walcott was miles ahead of Ali. Joe had a full palette to draw from, while Ali was sorely lacking in the finer points of the Manly Art of Self Defense. Walcott was a true master at his trade, in contrast to Ali who had always depended on his physical abilities, first his speed and then his toughness, to carry him through. Walcott was a technician, Ali was a tough guy.

Compare these two champs in their retirement years and you can see the difference. Walcott remained sharp and clear headed. He became the Sheriff of Camden County New Jersey and also served on the boxing commission until he was 70 years old. From then until his death at the age of 80 he worked helping handicapped and disabled children. His defensive boxing skills served him well as he showed no signs of brain damage.

Muhammad Ali

Ali’s deterioration had already started before he retired from the ring. While he made appearances in his retirement years he had become, to people who were willing to face the truth, a symbol of the dark side of boxing. He had become that which he had mocked. It was almost Shakespearean in that Muhammad Ali would become that caricature of the punch drunk boxer he said would never be.
https://youtu.be/opAJBr9G9MYhttps://youtu.be/opAJBr9G9MY

Show Boat at The Reagle Music Theatre In Waltham

Theatre Announcements, , , , , ,

Broadway’s Ciarán Sheehan and Boston’s Own Sarah Muirhead headline in

Show Boat

The epic tale of life on the Mississippi

Reagle Music Theatre, July 6-16, 2017 – 8 performances only

Directed and Choreographed by Rachel Bertone

Broadway’s “Phantom,” Ciarán Sheehan, returns to Reagle Music Theatre of Greater Boston to take on the role of GAYLORD RAVENAL in Jerome Kern and Oscar Hammerstein II’s 1927 masterpiece Show Boat.Running from July 6-16 for 8 performances only, Show Boat will also star Boston’s own Sarah Oakes Muirhead (Sunday in the Park with George) as MAGNOLIA HAWKS.  A groundbreaking show when it debuted in 1927, Show Boat continues to touch audiences with timeless themes and unforgettable music.  Rachel Bertone (IRNE Award Winner, Carousel, Wild Party) will direct and choreograph this intimate Goodspeed Musicals version of the production, in creative partnership with Musical Director and Conductor Daniel Rodriguez (Carousel, Barnum).  Original set design by Mike Micucci.  Producing Artistic Director Robert J. Eagle.

“What’s beautiful about the Goodspeed version of Show Boat, that our producer Bob Eagle has procured, is that it focuses very concisely on the themes of loss and love—the themes that bind all of us.” said Rachel Bertone, Director/Choreographer. “The beauty of the theatre, to me, is how it so powerfully reflects our humanity in all its strengths and weaknesses, how it holds a mirror up to who we are so that we might learn something about our own journeys through life. Great writing, like Show Boat, accomplishes this and as a director I feel an almost sacred responsibility to convey these themes with as much truth and integrity to our audiences as I can muster.”

Show Boat is based on Edna Ferber’s bestselling novel, following three generations of the Hawks family on the Cotton Blossom river boat from 1887-1927. The story chronicles the fortunes of naïve Captain’s daughter Magnolia and her troubled husband Gaylord Ravenal, and the lives of the performers, stagehands, and dock workers whose lives are affected by the ever-changing social current along the Mississippi River. Show Boat was the first fully integrated “book musical”, tackling issues of unhappy marriage, miscegenation and racial prejudice. The musical’s classic songs, including “Ol’ Man River, “Only Make Believe,” “Can’t Help Lovin’ Dat Man,” and “You Are Love,” have become mainstays of the Broadway canon.

Performance Schedule:  Thurs, July 6th at 2:00 PM; Friday July 7th at 7:30; Sat, July 8th at 7:30 PM; Sun, July 8th at 2:00 PM; Thurs, July 13th at 2:00 PM; Fri, July 14th at 7:30 PM; Sat, July 15th at 7:30 PM; Sun, July 16th at 2:00 PM.

 www.reaglemusictheatre.com,  781-891-5600, The Reagle Music Theatre, 617 Lexington Street, Waltham, MA).

Miles And Miles Of Texas

Music, , , , , , , , , , , ,

Asleep At Wheel Swings In Burlington

Asleep At The Wheel

Presented by The Burlington Community Concert Series

Burlington High School, Fogelberg Performing Arts Center

Friday, June 9th

Reviewed by Bobby Franklin

There was no danger of anyone falling asleep at the wheel after this concert.

Western Swing was alive and well at the Burlington High School on Friday night as Asleep at the Wheel took the stage. From the opening notes of Cherokee Maiden, the near capacity crowd knew they were in for a special night of music.

Led by Ray Benson, who is going into his 48th year of performing, the group focused mainly on their specialty, the music of Bob Wills and The Texas Playboys. Mr. Benson was in fine form, but he wasn’t alone. The eight piece band was an array of solid talent, all of whom made it look easy.

Moving from Miles and Miles of Texas right into the classic Route 66 where Katie Shore got to show us that her amazing talent on the fiddle is matched by her wonderful voice. She was also terrific on I’m An Old Cowhand, I Can’t Give You Anything But Love, and I Hear You Talkin’. She and Ray also teamed up for the Johnny Cash classic Big River.

Katie Shore wasn’t the only fiddle player on the stage. She was joined by Dennis Ludiker who was Texas State Fiddle Champion. Dennis also played mandolin (“The biggest little instrument in the world.”). I believe I saw smoke coming from the instruments when Katie and Dennis tore into Tiger Rag. Mr. Ludiker could reign as champ for as long as he wants to. At one point I thought Dave Sanger’s arms were going to fly off as he hit the drums and State of Texas shaped cymbal.

Steel guitarist Eddie Rivers never disappoints. His solo of the classic Teardrop was just beautiful. Eddie also broke out on sax for the onomatopoeic Choo Choo Ch’Boogie. Which also featured Connor Forsyth on keyboard showing us a fine way to play a Steinway.

Ray took time out to remember Guy Clark who passed away in 2016 by singing his beautiful Dublin Blues. It was a touching moment made more so by such a lovely song.

Of course, it would not have been a Texas Playboy night without San Antonio Rose and Faded Love. Eddie Rivers told me whenever he is feeling low he listens to San Antonio Rose. It certainly is great medicine.

Ray Benson was born to perform.

Over the years band members have changed, and somehow Ray is always able to recruit new and amazing talent. Old hands Ray, Eddie Rivers, and drummer Dave Sanger have to enjoy having the new energy that Katie Shore, Connor Forsyth, Dennis Ludiker, Josh Hoag (bass), and Jay Reynolds (saxaphone and clarinet) bring to the group. While Dave and Jay sat towards the back of the stage their presence was right in the forefront. These guys are good.

Ray Benson Friday In Burlington

No AATW concert is compete without Ray’s very special version of Hotrod Lincoln complete with sound effects and Benson’s juggling. It is such fun. Years ago a friend and former member of the band told me Ray Benson was born to perform. I think of how true that comment was every time I see him.

The concert closed out with the audience on its feet having a blast. House of Blue Lights, one of my favorites, was followed by an encore that included Big Balls In Cow Town and, fittingly, the old Roy Rogers song Happy Trails To You with the crowd singing along. One final tune was the Texas Playboy’s Theme.

There was no danger of anyone falling asleep at the wheel after this concert. I’m sure toes are still tapping. I know mine are.

You’ll Free Fall For This Wonderful Ripcord

Theater Reviews, , , , , ,

Ripcord

The Huntington Theatre Company

Calderwood Pavillion, South End
Through July 2

Reviewed by Bobby Franklin

Abby is living in an assisted living facility. She is cranky, miserable, and has driven out every roommate that has been paired with her. Marilyn, always upbeat with a sunny disposition, is her latest roommate. Abby wants her out and Marilyn will not leave. The two make a bet with the winner to get her way. This leads to the two of them doing some pretty nasty things to each other. Sounds like pretty depressing stuff? Well, it turns out this is one of the funniest plays you will ever see.

You will love this play!
Nancy E. Carroll
(Photo: T. Charles Erickson)

Nancy E. Carroll is perfect as the cantankerous, miserable, and at times cruel Abby who rarely betrays even a hint of a smile. She is also extremely funny. Annie Golden plays Marilyn who is a Pollyanna, always smiling and seeing the good in everything. Oh, she can play hard when it comes to fighting back against Abby. Both actors play off of each other perfectly. Add to the mix Scotty (Ugo Chukawa) a health aid and also an aspiring actor, who has to deal with these two terrors. Marilyn’s daughter Colleen (Laura Latreille) and son-in-law Derek (Richard Prioleau)  are apples that haven’t fallen far from the tree and you end up with a fast paced work with impeccable comedic timing.

This production has added incidental music along with some very fun dance numbers during set changes. I have not seen Ripcord before but I am sure these additions only enhance it. At the performance I attended the audience loved  these additions.

Cast of Ripcord
(Photo: T. Charles Ericson)

I don’t want to go on too much about what happens here as it will spoil the fun for those of you who decide to see it, and you definitely should head over to the Calderwood for this one. I will tease you a bit with a brief list of things that occur. There is a mugging by a very tall rabbit, a trip through a house of horrors, a skydiving adventure, and much, much more. It is amazing how these situations are staged. The set design, effects, and lighting are all incredible. By intermission youl will be wondering how much more could be left to surprise you. Believe me, there is plenty.

Annie Golden
(Photo: T. Charles Erickson)

Ripcord, by David Lindsay-Abaire,and directed by the wonderful Jessica Stone, as well as being funny is also a deeply moving story about two women who are facing the challenges of growing old and dealing with their pasts. Under all of the laughter we are given much to ponder. There is a touching, sad, and even cruel scene where Abby meets her estranged son Benjamin (Eric T. Miller). Marilyn is also a much deeper character than she seems at first glance. There is pain under her happy exterior. It turns out the two women have a lot  in common. Even with all of the laughter you will be deeply moved by this work. This really is, in the end, a very provocative piece that has us deal with what it is like to age and look back on our lives. It is told with, as I have said, much humor. But, it is a work filled with respect and understanding of these very difficult issues.

This has been a great theatre season in Boston. The Huntington, Lyric, and SpeakEasy have all treated us to some wonderful work these past months. Ripcord is a great way to cap this season. You will love this play! Don’t miss it.

huntingtontheatre.org

617.266.0800

Seaglass Performing Arts Ends Season On A High Note

Art, Theater Reviews, , , , , ,

An Evening of Spirituals and Heavenly Broadway

Performed May 6th at Christ Church
Kennebunk
May 7th at Wells High School Performing Arts Center
Wells

Reviewed by Bobby Franklin

Artistic Director Jean Strazdes has once again raised the bar for the wonderful Seaglass Performing Arts Chorale. Closing out the 2016-2017 Season with a program comprised of spirituals that not only contained traditional music but also included tunes from Broadway, Leonard Cohen, and Carly Simon. It was an exciting and interesting mix that worked so well together.

I took in the Sunday performance at Wells High School, and from the opening number, a medley from Sister Act, the audience knew they were in for an afternoon of wonderful music.

When Seaglass performs you not only get to enjoy the music, but Ms Strazdes also gives background into each song along with short biographies of the composers as well as a brief musical history. For instance, I never knew November 29th was Moses Hogan Day, a day to celebrate and perform spirituals in honor of the composer Moses Hogan. For this concert the group performed one of his arrangements, Music Down In My Soul. Mr. Hogan certainly deserves to be remembered.

Other spirituals included Unclouded Day, Didn’t My Lord Deliver Daniel, My Lord What A Morning, and Down In The River To Pray.

Joe would have been happy with this rendition as the group hit it out of the park.

In addition to the selection from Sister Act, Broadway was represented by Sit Down You’re Rockin’ The Boat from Guys and Dolls. Eric Mihan led this song and had the crowd smiling as he moved about the stage. Jean Stradzes read from an original opening night review of the play that compared it with the professionalism of Joe DiMagio. I think Joltin’ Joe would have been happy with this rendition as the group hit it out of the park.

The second act opened with a medley of Nothin’ Gonna Stumble My Feet and the Carly Simon song Let The River Run. Accompanied by a double bass played by Bob Daigle as well as percussion by MaryCarol Kennedy, Stephanie Sanders, and Dianne Smallidge. All were fabulous.

The second act was strong on Broadway tunes with a spiritual flavor. These included Seasons of Love from Rent, Somewhere from West Side Story, and Make Them Hear You from Ragtime. Leonard Cohen’s Hallelujah with soloist Marilyn Stanley was sublime.

Kim Karchenes accompanied on piano and never missed a note. All of the voices were just beautiful. Seagalss Performing Arts is made up of volunteers, but make no mistake, this is no amateur group. They are all serious musicians who take their art seriously. They work hard so we can enjoy this beautiful music and learn about the rich history behind it. If you haven’t attended a performance yet I urge you to take in the next season. You will be enriched by having done so.

www.seaglassperformingarts.org

Jess Willard, The Reluctant Giant

Book Reviews, Boxing Articles, , , , ,

Jess Willard: Heavyweight Champion of the World

by Arly Allen with the assistance of James Willard Mace

McFarland Publishing
300 pp. $35.00

Reviewed by Bobby Franklin

Not a lot has been written about Jess Willard. Part of the reason for that is because his championship reign was bookended by two champions who not only are considered all time greats, but who were also very colorful figures. It is unfortunate the Willard story has not been told as it is a very interesting one. That oversight has now been rectified with the very detailed account of the Pottawatomie Giant’s life written by Arly Allen. Mr. Allen was fortunate to have had the assistance of Mr. Willard’s grandson James Willard Mace. He also had access to Jess Willard’s unpublished autobiography. The result is a lively story about a man who, while preferring a peaceful life, was repeatedly finding himself in controversial situations.

Willard only had 22 bouts in his 23 year career, but at least two of those bouts are still argued about by boxing historians to this day. Arly Allen digs deep into the details of both those bouts, the title winning knock out of Jack Johnson and Jess’ loss to Jack Dempsey. Mr. Allen has strong views on both of these fights and he presents plenty of evidence to back up his conclusions. Whether or not he changes minds remains to be seen. He certainly has added much to the discussion. Did Jack Johnson take a dive in the 26th round of the bout in Havana? Were Jack Dempsey’s gloves loaded in Toledo? There isn’t a boxing historian on the planet who doesn’t have an opinion on these controversies. Agree or not, they should all enjoy reading this book.

Johnson vs Willard

Jess was born in Kansas in 1881. The young Willard was tall and lanky and was an excellent athlete who excelled at swimming and running. He was also an excellent horseman. The easy going Kansan hardly seemed the type to go in for boxing. In fact, he didn’t really care for the sport, but did get caught up in the search for a Great White Hope to defeat Jack Johnson. Willard’s size, six foot six and a half coupled with his agility got him noticed. His lack of a killer instinct was also picked up on. It seems Jess found it difficult to throw the full force of his body into punches unless he was hit hard first. He also had an aversion to fighting men smaller than he was as he was afraid he would cause them serious harm. Indeed, Willard did kill a man in the ring. His bout with another big man, William “Bull” Young ended in tragedy when Young died the day after his fight with Jess. Willard was devastated by this event but continued to pursue a career in boxing.

The Jess Willard story is a fascinating one.

Mr. Allen’s research comes up with many interesting facts about Willard’s life. He was repeatedly ending up in court  because of boxing in places where the sport was illegal or not clearly defined, because of financial disputes, and the Young situation where he was charged with manslaughter of which he was acquitted. It becomes clear that Jess was an honest man who, and with good reason, didn’t trust anyone around him. This distrust led him to enter the ring against Jack Dempsey without having solid people in his corner to watch out for him. If he had, the results of that bout may have been different.

In an interesting story leading up to the Dempsey fight Mr. Allen relates how there were three people who thought Jess might very possibly kill Jack that afternoon in the ring. They were Jess, Tex Rickard, and Jack Dempsey himself. Jack wouldn’t make eye contact with Willard when he entered the ring. There is much more and it is all very thought provoking.

From the time Jess won the title in 1915 until his loss to Dempsey in 1919 he only defended the title one time. He did, however, make quite a bit of money by making personal appearances, putting on exhibitions, and investing in a traveling circus. Willard made and lost fortunes over his life time.

Jess Willard

Willard’s blunt manner often got him into trouble. Mr. Allen relates the time Jess was booked for an appearance in Boston. He was to be paid $2,000.00 for one evening, a very substantial amount of money for that time. His visit also coincided with the running of the Boston Marathon. When Jess was asked to appear at the finish line he refused saying that if people wanted to see him they would have to pay. Needless to say, this left a bad taste in the mouths of Bostonians and only a small crowd showed up for his paid appearance. There is a similar story regarding Jess and Harry Houdini. These tales all make for fascinating reading.

There is much for boxing historians to learn from Mr. Allen’s well written book. For instance, I knew that the actor Victor McLaglen had fought Jack Johnson in an exhibition bout when Johnson was champion. I did not know that he also once boxed Bob Fitzsimmons and that he went four rounds with Willard.

The Jess Willard story is a fascinating one. He was a decent man who managed to get the public to turn hot and cold for and against him. He always felt he could beat Dempsey and even when nearing the age of forty he campaigned for a rematch. That bout would have happened if he had not been stopped by Luis Firpo. An interesting note, the Firpo bout was held at Boyle’s Thirty Acres in New Jersey, the site of the Dempsey v Carpentier bout. The fight drew nearly 100,000 people, approximately 10,000 more than the Dempsey / Carpentier fight. Willard received nearly $210,000.00 for the fight. That is an astronomical amount for the time.

There is so much more to this book. Willard was champ during WW I and during flu epidemic. The stories of his real estate and farming investments, his sixty year marriage to Hattie and the lovely family they raised all make for fascinating reading. Jess Willard deserves the attention of boxing fans and this book is the place to start. He was not just the guy who held the title between Johnson and Dempsey. He was a deeply interesting man.