All posts by Bobby Franklin

Frazier vs Ellis 1970

Boxing Articles, , , ,

Jimmy Showed Incredible Courage

by Bobby Franklin
It was 1970 and Muhammad Ali was still in boxing exile. Ali had been deprived of a license to box by the commissions in all fifty states. The Ring Magazine continued to recognize Ali as the champion arguing a title can only change hands in the ring.

Meanwhile, two other fighters laid claim to a portion of the title. the argument being since Ali could not fight they were deprived of a shot at the championship. In 1967 the WBA sponsored a tournament to find a successor to Ali. Joe Frazier was invited to participate but declined. Jimmy Ellis did take part though he was considered a long shot at winning. He proved the pundits wrong when he went on to win the tournament by defeating Leotis Martin, Oscar Bonavena, and Jerry Quarry. If memory serves me right, Jimmy was the underdog in all three fights.

Frazier went on to win his share of the title with a knock out win over Buster Mathis. Joe’s portion of the crown was sanctioned by the New York State Athletic Commission and a few other governing bodies.

Five months after winning the WBA title Jimmy Ellis traveled to Sweden to defend it against Floyd Patterson. Patterson had taken part in the original tournament but lost a close decision to Jerry Quarry in a semi final match. Ellis, fighting with a broken nose sustained in the first round, won a hard fought 15 round decision over the former two time champion. Because of the damage to his nose Jimmy had to take some time off. When he was better there were proposals for fights against Henry Cooper and Gregorio Peralta, but neither materialized.

During the same period Frazier defended his portion of the title four times defeating Manuel Ramos, Oscar Bonavena, Dave Zyglewicz, and Jerry Quarry. Frazier was staying active and sharp.

The public, now not sure if Ali would ever return to the ring, began to clamor for a unification bout between Frazier and Ellis. You see, back then people were used to there being only one heavyweight champion at a time and having the title divided up just didn’t seem right.

At some point in late 1969 Ali had made a statement that he would never fight again. It was at this point Nat Fleischer, the editor at Ring Magazine, announced he would recognize the winner of an Ellis Frazier fight the undisputed champion.  Fleischer was the most respected voice in boxing and what he said carried a lot of meaning.

The bout was set for February 16, 1970 to take place at Madison Square Garden. As was the norm at the time it was to be a fifteen round affair, fifteen rounds or less.

Ellis entered the ring weighing 201 pounds to Joe’s 206 pounds. This was the heaviest weight Jimmy had ever fought at. Frazier was a 6 to 1 favorite though many in the press gave Ellis a very good chance at winning; after all, he had overcome the odds time and again. He also had something else going for him. Jimmy had tremendous power and speed in his right hand. He had dropped the iron jawed Bonavena twice with that punch. In two fights against Frazier lasting a total of 25 rounds Bonavena was never even staggered.

Both contestants entered the ring looking confident and fit. Ellis did look bigger than in previous encounters, but also looked strong. Frazier was lean and energized.

When the bell rang for the first round it was apparent what Ellis’s strategy was and why he came in at the heavier weight. Jimmy came out with a puncher’s stance. He feet were wider apart than usual, and even though he was moving, he was more setting himself up to be able to throw power shots as Joe came at him.

During that first round Ellis threw dynamite at the bobbing and weaving Frazier. Joe was hit on a number of occasions by the one/two combos Jimmy threw but none of the shots caught him squarely on the chin. While Ellis won the opening stanza Frazier had landed some telling left hooks to the body. Yank Durham, Joe’s trainer had taught his pupil years earlier the old boxing adage, “If you kill the body the head will die” and Joe learned the lesson well.

In the second round Frazier came out on fire. He was extremely aggressive and started crowding Jimmy. Ellis was able to tie him up but it took a lot of strength to do so. He was also taking more hooks to the body from Joe. It is also interesting to see Frazier throwing and landing the occasional left jab.

By round three Frazier was running on all cylinders. While Jimmy was still trying to land the one/two combos he was being kept busy just fending off Joe’s murderous assault. Frazier was firing off brutal combinations to the head and body. His attack was furious and by the end of the round Ellis had been staggered and his legs were very heavy.

Between rounds Jimmy was taking deep breaths while Joe looked like he had hardly broken a sweat.

The fourth round saw Frazier at his murderous best. Jimmy came out and immediately threw two right leads in a desperate attempt to turn the tide of battle. Frazier rolled under both of them and then went to work. He started with a vicious body attack and then moved to the head. At this point Ellis had lost the ability to move much on his legs. With about a minute left in the round Joe backed Jimmy up against the ropes and dropped him with a left hook. Ellis was up at nine and was now fighting on sheer courage.

Jimmy was trying hard to land that one good punch but he had nothing left. As the fighters moved to mid ring Joe stepped to his right and unleashed a brutal left hook to Jimmy’s chin. Ellis went down flat in his back. As the referee, Tony Perez, counted over him the bell rang. By some miracle Ellis staggered to his feet and walked to his corner. It was at this point, against protests from Ellis, that Angelo Dundee called the fight off. It was the right and decent thing to do. Jimmy’s courage could have gotten him killed.

Frazier would go on to defend his title against Bob Foster and then Muhammad Ali. Jimmy Ellis would continue fighting taking on Ali and much later have a rematch with Frazier. He would never again fight for the title.

The Venerable Ogunquit Playhouse Celebrates its 85th Anniversary Season with a North American Premiere, a World Premiere, a Global Sensation and Broadway Hit Shows!

Theatre Announcements, , ,
Ogunquit Playhouse

The Ogunquit Playhouse, one of the Northeast’s cultural jewels and a cornerstone of America’s theatrical heritage, is celebrating its 85th Anniversary Season, and, true to its legacy, the 2017 season will be filled with the newest and brightest musicals, world and national premieres and a timeless classic, all complete with top-notch professional casts and creative teams direct from Broadway, Los Angeles, and London. The milestone season runs from May 17 to October 29 and will feature the American and the world premieres of two brand-new musicals, From Here to Eternity and Heartbreak Hotel. It also includes one of the biggest international hit sensations of all time, Mamma Mia!, which will run for an unprecedented seven weeks. Rounding out the 2017 season are Bullets Over Broadway, the delightful and hilarious musical based on the acclaimed Woody Allen film, and Ragtime, one of the most powerful musicals ever adapted for the stage. The season will stretch to the holidays once again with the return of the hit show White Christmas in collaboration with The Music Hall in Portsmouth, New Hampshire.

“As we enter our 85th Anniversary Season, we are very focused on the legacy we are proud to preserve and its future so that it endures for generations to come. We are thrilled to bring a mix of pure entertainment along with some of the most compelling stories ever created for the stage, including two exciting new shows to American audiences,” said Ogunquit

Playhouse Executive Artistic Director Bradford Kenney. “This year seems to be the perfect time to share one of the greatest stories ever adapted for the stage, Ragtime. With its beautiful score, it tells the emotional story of three families set against the turmoil and swiftly changing culture of early twentieth century America, when immigrant families were striving to find their place in a new world. Heartbreak Hotel tells the story of a young Elvis Presley and the groundbreaking music he brought to the popular culture during the height of the civil rights movement. It is a true rags to riches tale set within a time period when America was once again challenged with changing times. And, we are so very honored to be working with the great Tim Rice on the development of his musical adaptation of one of the most influential World War II stories, From Here to Eternity.”

10 Main Street (Rte 1)Ogunquit, ME 03907 207.646.5511
ogunquitplayhouse.org

NEW REPERTORY THEATRE ANNOUNCES 2017-2018 SEASON: RESILIENCE

Theatre Announcements, , , , ,

 IDEATION, OLEANNA, MAN OF LA MANCHA, UNVEILED, STATEMENTS, LONELY PLANET, RIPE FRENZY,
THE BAKELITE MASTERPIECE, TWO JEWS WALK INTO A WAR

Johnny Lee Davenport

Featuring nine productions, New Rep’s 2017-2018 season includes Ideation, a dark satirical comedy and Boston-area premiere; Oleanna, David Mamet’s groundbreaking drama, featuring Johnny Lee Davenport; Man of La Mancha, a revival of the Tony award-winning musical, featuring Maurice Emmanuel Parent; Unveiled, a one-woman show written and performed by Rohina Malik and co- produced with Stoneham Theatre; Statements After an Arrest Under the Immorality Act, and engaging political drama by Athol Fugard; Lonely Planet, an evocative social drama by Steven Dietz; Ripe Frenzy, a site-specific drama and Boston-area premiere; The Bakelite Masterpiece, a riveting historical drama and Boston-area premiere; and Two Jews Walk into a War…, a hilarious existential comedy featuring Jeremiah Kissel.

Jeremiah Kissel

“The plays in our 2017-2018 season will showcase the remarkable resilience of the human spirit,” says Artistic Director Jim Petosa. “Theatre has the power to shed light in dark times, to illuminate and stimulate thought, and to provide a forum for us to come together as a community in conversation. It is our hope that these plays will inspire and engage as New Repertory Theatre continues to be a place where the vital ideas of our time can be discussed freely and openly.”

“Our 2016-2017 season was one of our most successful ever, and we owe a great amount of that success to our patrons,” says Managing Director Harriet Sheets. “We heard from so many audiences members throughout the year and

their passion and enthusiasm for our productions and mission was clear. It is because of that support that the Boston Globe recently called us ‘a potent force,’ and so we’re pleased to share another extraordinary lineup in 2017-2018.”

MainStage Theater & BlackBox Theater | Mosesian Center for the Arts 321 Arsenal Street | Watertown, MA 02472

617-923-8487 newrep.org

Throwin’ The Cards At The Huntington

Theater Reviews, , , , , , ,

TopDog/Underdog

Through April 9th

Huntington Theatre Company

 

Reviewed by Bobby Franklin

Matthew J. Harris and Tyrone Mitchell Henderson (Photo Credit: T. Charles Erickson)

Two African American brothers named Lincoln and Booth are sharing a one room flat. Lincoln has left his wife, or she has left him. Booth has taken him in and he is sleeping on the recliner. By day Lincoln plays Abraham Lincoln at the local arcade where people can pay for the privilege of assassinating him. “It’s a good sit down job with benefits.” Booth makes his way by boosting (shoplifting), and he is good at it.

Harris and Henderson are perfect together. They never miss a beat with their timing and movement. Both are a pleasure to watch.

In Topdog/Underdog now playing at the Huntington Theatre in Boston we see the two brothers as they deal with the cards they have been handed. In this case the cards are from a deck used for playing Three Card Monte, a slight of hand game used to hustle people out of money. Lincoln used to be very good at the game, one of the best, but gave it up after seeing a close friend shot to death by a disgruntled loser. Booth wants to learn how to be good at it and have the two of them team up and make a fortune. A life Lincoln does not want to return to, or at least he is trying to convince himself he doesn’t want to.

Tyrone Mitchell Henderson and Matthew J. Harris (Photo Credit: T. Charles Erickson)

In the course of what seems to be a pretty basic story about two brothers making the best of what they have there are plenty of laughs. The quick banter between the two, Lincoln (Tyrone Mitchell Henderson) and Booth (Matthew J. Harris), is sharp and funny. There is a scene where Booth does a striptease taking off layer after layer of clothing he has boosted, providing two classy suits, one for himself and one for his brother. Matthew J. Harris has all the moves in a dance that seems it will never end, nor do we want it to.

While there are plenty of laughs, as things progress we begin to see the pain the two are in. Frustration, discouragement, loneliness, and anger all begin to show slowly and painfully. Lincoln, who is five years the elder, repeats how lucky he is to have his job so many times that it becomes clear he is trying to convince himself of it. He keeps resisting the temptation to go back to “throwin’ the cards”, but finally succumbs when he is replaced by a wax dummy at the arcade.

The banter and the hand movement makes you want to throw your money down and find where the black card has landed.

The two were abandoned by their parents when they were 16 and 11 years old but were each given a small inheritance. They also have a photo album that they, or at least Booth, keeps up to date. The brothers also talk about their parents quite a bit. It was not exactly a stable environment to be raised in, and they haven’t been left with a lot of options.

As I have written, this is a very funny play, but when the darkness reveals itself it is deep and painful. It is tragic watching Lincoln and Booth working with their very limited options. They do what most people end up doing when they are up against the wall; they return to what they know how to do. Unfortunately, that is not much of a choice for either of them.

Matthew J. Harris is fast, sharp, and fluid as Booth. He is filled with energy as he moves about the stage and talks about his future with his girlfriend Grace.

Tyrone Mitchell Henderson and Matthew J. Harris (Photo Credit: T. Charles Erickson)

Tyronne Mitchell Henderson as Lincoln is subtle yet commanding on stage. His voice and movements convey wisdom and conflict; hope and much pain. Watching him show Booth how to set up a Three Card Monte scam is captivating. The banter and the hand movement makes you want to throw your money down and find where the black card has landed

Harris and Henderson are perfect together. They never miss a beat with their timing and movement. Both are a pleasure to watch.

Director Billy Porter has set the play, written by Suzan-Lori Parks, on a stage that is not time specific. It is a reminder of just how long people have struggled under such circumstances, and of how strong the pain is of trying to make it in life when the bottom rungs of the ladder have been removed. For all of the laughs and good natured back and forth in this work, you will leave the theatre wondering why things have to be this way and what can be done to prevent it from happening. People have many different answers. The trick is in finding the right ones.

Topdog/Underdog

by Suzan-Lori Parks

Directed by Billy Porter

Now through April 9thThe Huntington Theatre Company

Avenue of the Arts

BU Theatre

264 Huntington Ave., Boston

617.266.0800

huntingtontheatre.org

 

 

When Heavyweights Ruled

Book Reviews, Boxing Articles, , , , , , ,

 Jerry Izenberg Recalls The Time And Excitement

Once There Were Giants: The Golden Age Of Heavyweight Boxing

Skyhorse Publishing, NY, NY

Reviewed by Bobby Franklin

From the time of John L. Sullivan and through most of the 20th Century being the Heavyweight Champion of the World meant being the stuff of legends. It was as close to immortality as any man could get. Young boys would dream of growing up and one day being the next Jack Dempsey or Joe Louis. To hold that great title also meant being arguably the most famous man in the world. It is impossible to recall the Roaring Twenties without thinking of Dempsey. The 30s and 40s always have Joe Louis’s visage looking at us from that time of the Great Depression and WWII. As America got back to work after the War we had Rocky Marciano to remind us of the value of hard work and perseverance. In between each of these great champions were other great men who left their own mark on the history of boxing. The Heavyweight Championship was the most difficult to attain and most prestigious honor to capture in all of sports and I would argue in any realm of the world of entertainment.

It is sad that today it is just a memory. That great title no longer exists. Oh, there are people, a lot of them, who claim it but none who have earned it. I doubt there are any young men today who wake up in the morning with that dream their grandfathers and fathers had of being the Champ. Those days are far behind us, but they didn’t go away without a fight.

The final era when the Heavyweight Title still meant something was also one of its most exciting, Jerry Izenberg in his new book Once There Were Giants: The Golden Age Of Heavyweight Boxing (Skyhorse Publishing, NY,NY) brings us back to that very exciting time.

If you were fortunate enough to have experienced boxing from the 1960s until the late 1980s Jerry’s book will bring back terrific memories of what may have been the most competitive period in the history of boxing among the big men. Mr. Izenberg argues it was, and he is standing on solid ground when he says so. It was certainly a very exciting time to be a fight fan.

In a lively narrative Mr. Izenberg brings us to ringside and into the backrooms to visit with the fighters to relive many great moments.

As background Mr. Izenberg chronicles the rise and fall of the mob that took place from the 1930s up until the 1960s. We are introduced or reintroduced, depending on your age, to such characters as Owney Madden, Frankie Carbo, Jim Norris, Blinky Palermo, and many other gangsters who controlled boxing for decades. It is a sordid history of corruption and strong arm tactics and very worth reading.

After Rocky Marciano retired, the Heavyweight Championship fell into a sorry state. Cus D’Amato who had crusaded against mob control of boxing was able to take hold of the title with his young fighter Floyd Patterson. Mr. Izenberg sheds a lot of light on the real D’Amato who, it turns out, had his own mob connection. D’Amato also made it even more difficult for legitimate contenders to get a shot at the title because he was not going to allow his champion to step into the ring with any opponent who had a pulse. At least with the old mob a fighter could buy his way in. With D’Amato the division went into a period where having talent only increased a fighter’s chances of not getting a title fight.

Ironically, it took the underworld figure Sonny Liston to change things, though it took someone else to shake up the world of boxing. When Sonny won the title by destroying Patterson boxing epitaphs were being written. Boxing had gone from a mama’s boy to a man who was pure evil. It didn’t look like it could sink any further.

This is where Jerry’s book goes from the darkness to the glory times. A young Cassius Clay had returned from the Rome Olympics waving his Gold Medal and proclaiming himself “The Greatest”. He stepped up and whupped Sonny and began a new age in boxing. An age Jerry Izenberg was there to witness from beginning to end.

In a lively narrative Mr. Izenberg brings us to ringside and into the backrooms to visit with the fighters to relive many great moments. When Clay, now Ali, became champion he fought everyone. Of course, a number of these contenders had grown old waiting for a title shot, but they were no longer going to be denied. Ali fought often and was always heard from. He was loved and hated, and he was exciting. Boxing was now back in a big way, and Mr. Izenberg brings it all alive again.

As Ali was mowing down the old line of contenders a whole new crop was sprouting up. While none seemed an immediate threat to Ali, it was going to get interesting. Well, it did get interesting when Ali was stripped of his title for refusing to be inducted into the Army. With Ali sitting on the sidelines the heavyweight division still blossomed as many of the young prospects developed into serious contenders. By the time Ali returned to the ring boxing was a whole new picture. It had certainly become much more competitive and even more exciting.

Jerry Izenberg follows these events up until the implosion of Mike Tyson when it can be said heavyweight boxing was breathing its last. We are there for the three Ali v Frazier fights. The Foreman destruction of Frazier as well as Ken Norton’s win over and two controversial losses to Ali. And the rise of Larry Holmes, a fighter who never got the respect he deserved.

Mr. Izenberg’s insights are terrific, and his chapter on the Holmes v Cooney fight is particularly interesting. The racial overtones that fight took on were a sad episode, but it is good to know they were not shared by the fighters.

There are also many behind the scenes stories about the rise and fall of Mike Tyson that include one very personal moment the author had with the future champ as well as the story of Teddy Atlas’s break with D’Amato and Tyson. Boxing fans will love this.

And if that isn’t enough, Jerry takes you to the Pruitt-Igoe Housing Project in St. Louis for a visit with Michael Spinks. The visit took place at midnight in the notorious project and it took plenty of courage for Jerry to show up. It does result in a very interesting story.

Jerry Izenberg and Ali

If you want to know what competitive boxing is like. If you want to know what it is like to have evenly matched contenders fighting for the title. If you want to get a taste of the electricity that would fill the air all across the country when the Heavyweight Championship was on the line you will find it in Once There Were Giants. It’s unfortunate it will never be seen again.

A Moving Look At The Challenges Of Being Kind

Theater Reviews, , , , , , , ,

Grand Concourse

SpeakEasy Stage

Through April 1st

Reviewed by Bobby Franklin

You will be deeply moved by what you see.

The SpeakEasy production of Grand Concourse by Heidi Schreck now playing at the Calderwood Pavilion in Boston’s South End is one of those truly wonderful theatre experiences that touches on so many emotions.

Oscar, Shelly, Emma, and Frog.
Photo Credit: Glenn Perry

There are four characters in this play that takes place in the food preparation area of a soup kitchen in the Bronx. As the play progresses the depth and struggles of each of these individuals becomes more apparent. It is impossible to watch this work and not become emotionally invested in each one of them.

Shelly, played by Melinda Lopez, is the Catholic nun who runs the kitchen. She is committed to her work but is having doubts about her faith and purpose. She practices praying while using a microwave timer. Shelly is a kind and compassionate human being, but is that enough and  what does it mean to be compassionate? Melinda Lopez brings depth and warmth to Shelly. I felt I had known her for years.

One day Emma, a college drop out, stops by and offers to volunteer. At first she seems like a young person who wants to do something good, but as the play progresses we see there is much more going on with her. Played by the very talented Ally Dawson, Emma is very manipulative and makes things quite difficult for the others. She also accomplishes much good while pushing the others to the limits of their compassion. Ms Dawson handles this very complex character perfectly. It is an emotional roller coaster watching her, and I have to say I felt drained by her actions. However, it  me feel good in the sense that I was forced to look more deeply into someone whom it would have been very easy to write off as superficial and self absorbed.

Frog and Oscar
Photo Credit: Glenn Perry

Thomas Derrah plays Frog a homeless man who has been a regular at the soup kitchen for some time. In between telling and selling jokes to the others, he also spins his philosophy on life and insights into people and society. I have seen Mr. Derrah perform for more years than I would like to admit, and I have to say it would be a challenge to find an actor who can match him for how consistently good he is. He certainly does not disappoint here. He makes many entrances and exits in the course of this production and each one is fresh and outstanding.

Oscar, played by Alejandro Simoes, is the maintenance man. He is funny and kind. Oscar was a dental student in his native Dominican Republic and is now struggling to put a life together in the United States and marry his girlfriend Rosa. At first he appears to be a fairly light character, but Mr. Simoes treats us to a man who has weaknesses and conflict but is filled with decency. He truly touches us with his goodness.

Shelly and Emma
Photo Credit: Glenn Perry

Grand Concourse easily could have been a very predictable and formulaic work about people helping people and getting caught up with the conflicts in their own lives. At first I thought that’s where it was going. What author Heidi Schreck has given us is a play that goes much deeper than that. I was very moved by this play. It compelled me to ask  what it means to have compassion and what the limits are to it. The Catholic social activist Dorothy Day once said her purpose was to comfort the afflicted and afflict the comfortable. Well, it’s not always easy to tell who is afflicted and who is comfortable.

The SpeakEasy Stage has done it again and this is a play not to be missed.

I have to admit I left the theatre emotionally spent. It was an amazing afternoon watching terrific actors working with a fine script that was well directed and staged beautifully. I highly recommend Grand Concourse. The SpeakEasy Stage has done it again and this is a play not to be missed. You will be deeply moved by what you see.

Grand Concourse

Directed by Bridget Kathleen O’Leary

Through April 1st

The SpeakEasy Stage
At The Calderwood Pavillon
South End, Boston

speakeasystage.com

617.933.8600

Kisses and Laughter Aplenty At The Lyric

Uncategorized, , , , , , , , , , ,

Stage Kiss

The Lyric Stage

140 Clarendon St. Boston
Through March 26th

Reviewed by Bobby Franklin

Sarah Ruhl’s Stage Kiss now playing at the Lyric Stage is two plays within a play that centers on the problems that arise when former lovers are cast opposite each other in a revival of a 1930s melodrama, The Last Kiss, which is also about two former lovers.

Make no mistake, this play is very funny.

He (Alexander Platt) and She (Celeste Oliva) the former lovers who haven’t seen each other in over ten years are brought together when trying out for roles in a revival of a 1930s Noel Coward style play The Last Kiss. Sexual tension immediately arises as old passions become inflamed. She, who is now married and has a daughter while He is in a relationship with a woman from either Iowa or Illinois (you’ll understand when you see it), don’t take long to act on their desires.

Will McGarrahan, Celeste Oliva, Michael Hisamoto (Photo: Mark S. HowardMake no mistake, this play is very funny. Ms Oliva, as She, is a positive riot as she reads for the part in front of director Adrian Schwalbach (Will McGarrahan). It is her first time trying out for a production in years and Oliva plays the part with a frenetic humor that conveys She’s self doubt. I couldn’t help but think this might not be much of an exaggeration of what many actors have been through. Mr. McGarrahan as Schwalbach is the perfect straight man. His timing is excellent as he knows just when to deliver a line or a look to allow the lines to sink in. I have seen him in a number of productions and he as yet to disappoint.

Alexander Platt and Celeste Oliva. (Photo: Mark S. Howard)

He is played by Alexander Platt. He, shallow and self centered, lives just in the moment. He seems not at all concerned with the fact that She is married and has a child. At first this doesn’t seem important as the laughs keep coming and it is amazing to see the set for The Last Kiss come together as the action moves along. The play begins with an almost bare stage that evolves into a beautiful setting with lovely costumes. It is magical to see as it happens bit by bit while the lights are dimmed.

Director Courtney O’Connor also plays a bit with the audience on when intermission is about to start. It is all fun and a nice touch.

In Act II things begin to falter a bit. The Last Kiss has been a flop and now He and She are teaming up with Adrian in a new play he has written and is producing in Detroit. She has left her husband Harrison (Craig Matthers) and her daughter Angela (Theresa Nguyen) to be with He. He’s former girlfriend Laurie (Gillian Mackay-Smith) and Harrison have taken up with each other. Angela’s reaction to all of this is not hurt but anger that doesn’t seem all that real. She also seems quite self centered.

And this is why things don’t quite work in the second act. While there are plenty of funny situations, we are still seeing a marriage torn apart and a child whose mother has walked out on her. I never got the sense anybody really was feeling much pain about all that had happened. Towards the end Craig Mathers gives a very moving and well done monologue about marriage that feels out of place as he appears to be the only one who grasps what has really happened. The lines he delivers include “Marriage is about repetition. Every night the sun goes down and the moon comes up and you have another chance to be good. Romance is not about repetition.” Beautiful words, and while She does go back with him, I don’t believe it is the words that have moved her. Her shallowness still rings through. Without an emotional investment in the characters it is hard to feel much even when listening to these lovely words so well delivered by Mr. Mathers.

Will McGarrahan, Celeste Oliva, Alexander Platt, Michael Hisamoto. (Photo: Mark S. Howard)

Now, I do have to say something here about Michael Hisamoto who plays a number of parts including the Kevin the understudy in The Last Kiss and a pimp in the play in Detroit. Mr. Hisamoto almost steals this production. He is positively hilarious in his scenes with Ms Oliva in Act 1. Their kissing scene is side splitting funny. Every time he steps onto the stage you can feel his energy. His presence is subtle but very strong. He can elicit laughter with just a sidewards glance. He is a very talented young actor and I hope we get to see more of him soon.

Mr. Hisamoto almost steals this production

Stage Kiss may have some flaws, but it is still a production worth seeing. It is refreshing to sit in a theater and laugh. It is nice in this very heated political era to be able to step away from all the arguing and be able to escape for a couple of hours. Theatre plays many roles in our society. Some of it is political. But it is also important that it gives us a break from the anxieties that creep into our lives. Stage Kiss does that.

Stage Kiss

by Sarah Ruhl

Directed by Courtney O’Connor

Lyricstage.com

NEW REPERTORY THEATRE PRESENTS

Theatre Announcements, , ,

GOLDA’S BALCONY

BY WILLIAM GIBSON DIRECTED BY JUDY BRAHA

MARCH 25-APRIL 16, 2017

New Repertory Theatre presents Golda’s Balcony, March 25-April 16, 2017 in the Mainstage Theater at the Mosesian Center for the Arts, 321 Arsenal Street, Watertown, MA.

“As one of the first democratically elected female heads of state, Golda Meir’s historic rise cannot be understated,” says Artistic Director Jim Petosa. “Golda’s Balcony is a cornerstone in a season we’ve entitled Prologue, as we look back through history to inform the present. At a time when our current political environment is in flux and America’s standing on the world stage is at a critical juncture, it is illuminating to produce plays that continue to examine today through the lens of the past.”

Bobbie Steinbach

“New Rep is thrilled to welcome back Bobbie Steinbach to our stage after appearing in a number of productions over the years including most recently our smash-hit revival of Fiddler on the Roof last December,” says Managing Director Harriet Sheets. “Bobbie brings with her a creative energy that is unmatched in the Greater Boston theatre community, and we welcome all to join us for our much- anticipated production of Golda’s Balcony this spring.”

Golda’s Balcony follows Golda Meir from her humble beginnings as a Wisconsin school teacher to her meteoric rise through Israel’s early political system, becoming one of the world’s first elected female heads of state and one of the most influential women in Israel’s history.

Tickets are $30-$59 and may be purchased by calling the New Rep Box Office at 617-923-8487 or visiting newrep.org. Student, senior, and group discounts are available.

Ali v Frazier I: 11th and 15th Rounds

Boxing Articles, , , ,

Remarkable Moments In A Remarkable Fight

by Bobby Franklin

This coming March 8th will mark the 46th anniversary of the first Ali vs Frazier fight, The Fight of the Century. It will also be the first time the date will arrive with both men now having passed on. Rewatching this great fight it is hard to believe neither Joe or Muhammad is still with us. That night in Madison Square Garden they both appeared to be immortal. It was as if two ancient gods had stepped down from their mountains to do battle for control of the universe.

I am surprised how their third encounter has taken most of the spotlight over the years. While that was a great brawl, both men had lost much, if not most, of their great skills. The first bout was the only time in history when two undefeated men with legitimate claims to the Heavyweight Championship met to settle things. The fight lived up to all of the hype and even more. I truly believe the fight would be given more notice if Ali had won, and that is the reason the third fight is so often shown. The Ali publicity machine never stopped working while Joe Frazier slipped into a quiet retirement. It is too bad because their first meeting was one of the greatest fights and greatest sporting events of all time. It should be shown every March 8th. Fortunately, it can be seen on Youtube, and boxing fans should take an hour on the anniversary to watch it.

I have written about the fight on a number of occasions. Each time I watch it I see something new. Each time I watch it I am still in awe of what a battle of wills it was. Each time I watch it I am in disbelief of how these two men were able to hold up for fifteen rounds at such a torrid pace.

Today, as I reflect back on that night, I want to focus in on a couple of moments from that war. These occurred in the 11th and 15th rounds, and I would like to share my thoughts with my readers.

When the bell rang for the 11th round both fighters appeared to be slowing down. Ali was content to stay on the ropes and Joe was not landing with the same power he had been displaying over the pervious 10 rounds. The fight seemed to be losing its intensity and that was no surprise seeing the pace these two had set. Well, that was about to change.

With about a minute left in the round, Ali was on the ropes near a corner. Frazier had landed a couple of left hooks on Ali’s chin, but not with full force. Then it happened, Joe let a hook rip that caught Ali and buckled his legs. Muhammad attempted to get out of the corner and stepped to his right with Frazier in pursuit. This is a key moment in the fight and if things had gone slightly different would have most likely been the end of the bout.

As Ali moved along the ropes trying to escape from Joe, Frazier landed a powerful left hook to Muhammad’s jaw. Ali fell backwards and his arms swung back and away from his body. He was wide open to be hit at will. He was hurt and off balance. So why didn’t Joe follow up?

Watch this moment in the fight and you will see why. There are a couple of different views of it, but all clearly show what happened. After Joe landed that brutal shot and Ali’s legs buckled it appeared he was going down, and indeed he would have. Joe seeing him start to go down stepped away to head for a neutral corner. What then happened is that as Ali was on the way down his backside caught one of the ropes and held him up. Joe looked over as he was walking away and immediately rushed back to Ali. By this time Muhammad had righted himself and had his hands back in position. If Joe had not believed Ali was going down he could have landed at will and very likely ended the contest. In boxing, seconds and fractions of seconds make a difference, and it certainly did in this case. Frazier pummeled Ali for the remainder of the round. He staggered him a couple of more times, but he could not finish him off.

The 15th round produced another amazing moment in a night of great moments. In what is perhaps the most famous knockdown in boxing history, Joe dropped Muhammad with a tremendous left hook early in the round. Ali went down flat on his back. It looked as if the fight was over. However, in what seemed like a miracle, Ali not only got up but rose almost immediately. How was he able to regain his feet after absorbing such a shot? Both men were beyond exhausted. Ali was caught flush on the jaw by one of the hardest left hooks ever thrown. Or was he?

Ali used to brag that he had a built in radar that could detect punches that were about to hit him so he could avoid them at the last second. His radar was working here. He was not able to avoid the punch, but if you watch closely as the blow connects you will see Ali moving his head as the punch makes contact with him. Basically, he, to some degree, rolled with the punch. It was still a brutal shot, but it would have been much worse had he not moved the way he did. It is amazing his mind and body were still able to respond in that manner seeing how grueling the fight had been.

I remember seeing Arthur Mercante, the referee for the fight, interviewed once. When questioned about the 15th round he said he felt the men were so tired that he feared he might push one or the other over while breaking a clinch. It just shows how much Ali and Frazier drove themselves in this battle of wills.

I once had a chance to talk with Arthur Mercante. I asked him how much he got paid for officiating that night. He told me he received $500.00. When I said it didn’t seem like much he turned to me and with a big smile said, “I would have done it for nothing.”

This March 8th take an hour to watch this fight. Do it to honor two great athletes. Do it to remember what boxing once was.

Theatre Openings

Theatre Announcements, , , , , , , ,

Another Round Of Theatre Productions Is Coming Up And There Is No Shortage Of Productions To Fill  Your Calendars.

The SpeakEasy Stage will be kicking things off with Grand Concourse which will run from March 5th to April 1st Calderwood Pavillion located in Boston’s South End.

GRAND CONCOURSE tells the story of Shelley, a Catholic nun and former high school basketball star, who now struggles to find meaning in her work as the manager of a Bronx soup kitchen. With the help of Oscar, a former Dominican dentist now making a living as a security guard, Shelley tends to her flock, a colorful crew that includes Frog, a homeless former intellectual who now passes time writing joke books. The arrival of Emma, a college dropout looking for a sense of purpose, is at first a welcome addition to the team, but the girl’s erratic behavior soon takes its toll. With gentle humor and great heart, GRAND CONCOURSE explores the mysteries of faith, forgiveness, and compassion.

The cast includes Ally Dawson, Thomas Derrah, Melinda Lopez, and Alejandro Simoes.

From March 10th though April 7th the Huntington Theatre Company will be presenting Top Dog/Underdog at the BU Theater on Huntington Avenue in Boston.

Topdog/Underdog is a darkly comic, deeply theatrical fable about family wounds and healing bonds. Lincoln and Booth are brothers: best friends and bitter rivals. Lincoln, a former 3-card monte hustler, works as a Lincoln impersonator in a shooting gallery; Booth is an aspiring grifter. He tempts his brother to get back in the game, but the consequences could be deadly.

Suzan-Lori Parks made history as the first African American woman to win a Pulitzer Prize for Drama in 2002 with Topdog/Underdog. Additionally, she is named among Time magazine’s “100 Innovators for the Next Wave” and is also the recipient of two Obie Awards and a MacArthur “Genius” Grant.

Over at the Lyric Stage on Clarendon Street in Boston you will be able to see Stage Kiss running from February 24th through March 26th.

Life imitates Art. Art imitates Life — and Love. In Stage Kiss, two squabbling long-lost loves are cast as long-lost lovers, and quickly lose touch with reality in this comic, romantic, and revealing play-within-a-play. Playwright Sarah Ruhl and Director Courtney O’Connor (Red Hot Patriot, Buyer & Cellar) take us on-stage, back-stage, and right out the stage door in this charming tale about what happens when lovers share a stage kiss and when actors share a real one.

Caryl Churchill’s Cloud 9 will run at the Hartford Stage from February 23rd through March 19th in, where else?, Hartford, CT.

The world of Cloud 9 contains unexpected trysts, gender swaps, role reversals and power plays. Victorian repression clashes with liberal expression as the play follows a British family from colonial Africa to London in the 1970s. The tantalizing comedy explores the ever-changing world of sexual politics as it asks what it takes for each of us to reach our own Cloud 9.

Cloud 9 was Caryl Churchill’s first international hit. The playwright’s other works include Top Girls, Mad Forest, Love and Information, A Number and Serious Money. The Guardian recently wrote that Churchill “now shares with Tom Stoppard the title of Britain’s most significant living dramatist.”

There is plenty to see, many fine theatre companies producing excellent work, and so much great talent performing. The weather is improving and there is no better way to spend an afternoon or evening than enjoying a play. The folks at all of these theaters work hard to give us first class productions and they rarely fail. We are lucky to have so many theatre companies near by. Take in a show or two, or three. You won’t be disappointed.