All posts by Bobby Franklin

There’s A Lot More To Ingo

Ingemar Johansson:
Swedish Heavyweight Champion
By Ken Brooks
(McFarland, 272 pages, $29.95)
www.McFarlandpub.com 800-253-2187

reviewed by Bobby Franklin

978-0-7864-9847-5A few weeks ago I wrote a piece for the Post Gazette about Heavyweight Champion Ingemar Johansson. In the limited research I did on that story I learned what a fascinating character the man with Toonder in his right hand was. In the time since that column appeared I have had the opportunity to read Ken Brooks’ detailed biography of the former world champion.

In recent years biographies of boxers have been coming out on an almost daily basis. Most are labors of love. Many are well researched but poorly edited. Some are quite good. And a few rise to the top of the heap. This book is one of those that deserves a wide readership.

Mr. Brooks has done meticulous research, organized his material, given an array of footnotes to back up that research, and ends up with a lively narrative about a fascinating figure in the world of boxing

a lively narrative about a fascinating figure in the world of boxing

. Though he clearly admires his subject, this is no hagiography.

Ingemar was born in Goteborg, Sweden in 1932, the son of Ebba and Jens Johansson. His father, Jens, was a street paver and it is from him that young Ingo inherited his great physical strength.

The young Swede was not particularly fond of school work, nor did he do well when dealing with authority figures. His career in the military was less than stellar. But this disdain for being a team player made him a perfect candidate for the sport of boxing where an athlete is on his own and answers to no one but himself.
Ingo ran up an impressive amateur boxing record culminating in his representing Sweden in the 1952 Olympics. Fighting against American Eddie Sanders in the final Ingo was disqualified for “lack of effort”. Johansson returned to Sweden in shame and with the press writing off any hopes of his having a future in boxing.

Well, not only did he prove the press wrong by going on to win the European Heavyweight title, he also became the first Swede to hold the World Heavyweight Championship. But, he did much more than that.

Even though Ingemar was champion for less than a year, he singlehandedly revived boxing which, under the reign of Floyd Patterson, had begun to become more of a sideshow.

Ingo1In this book Ken Brooks writes not only about Johansson, but also pens an excellent history of boxing during the late 50s and early 60s. It turns out Cus D’Amato was not the valiant warrior against organized crime that so many believe he was. He had his own criminal connections, and Mr. Brooks lets us in on them. While D’Amato is remembered for standing up to Jim Norris and the IBC, he was not looking to clean up boxing. Rather, he was attempting to make his own power grab. This all makes for fascinating and enlightening reading.

It is interesting to contrast Johansson’s rise up the ranks with the two best known of D’Amato’s protege’s, Patterson and Mike Tyson. Mr. Brooks points out the fact that Ingo never fought an opponent who had a losing record

Ingo never fought an opponent who had a losing record

. Every one of his fights were against fighters who had more wins than losses. Compare that with the steady stream of hand picked opponents that both Mike and Floyd faced on the way up. Ingo earned his title shot by knocking out number one contender Eddie Machen, a man Patterson refused to grant a chance to.

On the night he won the title from Patterson with a devastating seven knockdowns in the third round, very few people gave Johansson any chance of winning the fight. He didn’t appear to have trained very hard for the fight, and in the first round he didn’t appear particularly fired up. Ingo’s laid back personality carried through with him when he climbed through the ropes. The reality was, even though he often seemed disinterested in boxing and more interested in having a good time, Johansson loved boxing and took it very seriously.

Johansson loved boxing and took it very seriously

He had developed an awkward yet effective style that worked well enough to gain him the world title.

Ken Brooks covers much ground in his taut and concise book. Readers learn about Howard Cosell’s first time behind the mic for a national broadcast. The unlikely friendship between Sonny Liston and Johansson. Ingo actually made Sonny smile, and they enjoyed each other’s company. We get the truth behind the two round sparring session between a young Cassius Clay and the former champion that took place before the third Patterson fight in Miami. A myth has grown around this, and once again, the author delves into what actually happened that day.

Ingo and Sonny
Ingo and Sonny

Ingemar’s social life was more one of Hollywood celebrity than professional athlete. The new champion was extremely popular in the United States, particularly among females. His good looks and dimpled chin coupled with his charm made him very sought after. Among his paramours was Elizabeth Taylor. You can get a glimpse of this attraction by looking on Youtube at his appearance on What’s My Line as well as his time on the Dinah Shore Show where he sings and banters with his host. The Champ had a great singing voice.

Mr. Brooks also gives us details on Ingo’s marriages and home life. The saddest part is the description of his final years when dementia set in. Johansson did not want people to think his illness had come from boxing. He loved the sport that much, but it was indeed the tragic outcome of the blows he took to the head.

On a happier note, Ingo was one of the few boxers to leave the sport financially well off. He eventually bought a small motel in Florida where he enjoyed a number of very happy years. He also resisted a number of lucrative offers to return to the ring. When he was done fighting the decision was final.

Ingemar Johansson: Swedish Heavyweight Boxing Champion is a must read even for the most casual of boxing fans. Ingo deserved to have a good book written about him, and Ken Brooks has done him that service.

A Dancing Feast At The Ogunquit Playhouse

Seven Brides For Seven Brothers

Through October 1st

reviewed by Bobby Franklin

I have to say I was not particularly excited by the thought of seeing Seven Brides For Seven Brothers. It has never been high on my list of movie musicals, though when it was released in 1954 it was a hit and earned an Academy Award for Best Scoring of a Musical and a nomination for Best Picture. In 1982 it was staged on Broadway but did not last long. It has been revived a number of times over the years with changes being made as it went along.

Frank (Jeff Smith) Challenge Dance Photo: Jay Goldsmith
Frank (Jeff Smith) Challenge Dance
Photo: Jay Goldsmith

The production now playing through October 1st at the Ogunquit Playhouse has original choreography by Parker Esse, a man with no shortage of talent. And it is the dancing that makes this an enjoyable evening of theatre. Oh, the scenery, as usual at the Playhouse, is lovely, and the cast is strong, especially Analisa Leaming as Millie playing opposite Nathaniel Hackman as Adam.Ms Leaming is tall and beautiful with a lovely voice

Ms Leaming is tall and beautiful with a lovely voice

and she knows how to command the stage. Mr. Hackman fits the part of the strong and stubborn mountain man in search of a wife with his deep and full voice. But it is ultimately the dancing that makes this worth seeing.

A nice touch is having members of the orchestra come out onto the stage in costume for a number of the songs. The very lively Challenge Dance number is outstanding with amazing physicality. It is really something to see the potential brides being tossed over the heads of their suitors. The dancers were in perfect sync.

I was pleasantly surprised by what I saw, but I should never underestimate what the team at the Playhouse can accomplish with  Artistic Director Brad Kenney in charge. Seven Brides for Seven Brothers is a terrific old fashioned musical that makes for a fun time at the theater. This is one for the entire family to enjoy. It will make you feel like dancing down the aisle on the way out of the theater.

Seven Brides For Seven Brothers at the Ogunquit Playhouse
Directed by BT McNicholl
Through October 1st.
Box Office: 207.646.5511
OgunquitPlayhouse.org

You’re In Good Company At The Lyric Stage

Stephen Sondheim’s Company

Directed by Spiro Veloudos

The Lyric Stage Boston

reviewed by Bobby Franklin

Bobby (John Ambrosino)
Bobby (John Ambrosino)

I am embarrassed to admit it, but in all the years I have been attending theatre I have, until now, never seen Stephen Sondheim’s “Company”. Well, I guess the theatre gods wanted me to wait for the Lyric Stage’s production directed by Spiro Veloudos. The gods were smiling on me as I doubt I could have seen a better staging of this wonderful play anywhere else. The wait was worth it.

The play which was considered groundbreaking when it first appeared in 1970 takes on the subject of marriage, commitment, and non commitment. It centers around Bobby, the one person in his circle of friends who has not been in a committed relationship. His friends are concerned that Bobby is not in a relationship, and they are trying to fix him up or convince him that “A person is not complete until married.”

At the same time, we get to explore the question of just how happy Bobby’s married friends are. The songs “The Little Things You Do Together” and “Sorry-Grateful” capture the conflict many couples have using an on the one hand, on the other hand theme.

“Company” is a play that, while dealing with a subject, marriage and commitment that can be touchy and emotional, and is something we all have experienced in some way, it never makes you feel uncomfortable. The music is classic Sondheim, meaning it is simply wonderful. There is humor, and

the cast, without exception, is a joy to watch

the cast, without exception, is a joy to watch.

As I was leaving the theatre two moments stayed in my thoughts. One is when Amy, who is engaged to be married but is getting cold feet, tells Bobby “You are afraid not to get married, and I am afraid to get married.” The other was the song “Marry Me A Little” sung by Bobby. He is onto something.

April (Adrianne Hick), Marta (Carla Martinez), Kathy (Maria LaRossa)
April (Adrianne Hick), Marta (Carla Martinez), Kathy (Maria LaRossa)

There is not a bad seat at the Lyric Stage, but they are limited. I recommend you get tickets soon before it sells out as it most certainly will. Don’t wait. who knows when the gods will send us another production as fine as this one.

Company now through October 9th at The Lyric Stage, 140 Clarendon Street, Copley Square, Boston. 617.585.5678
lyricstage.com

Photos: Mark S. Howard

A Moment From Walcott vs Ray

Jersey Joe Walcott
VS
Elmer “Violent” Ray
A Split Second In That Fight

by Bobby Franklin

Walcott Ray

Followers of this column know I occasionally like to take a photograph from a fight that took place years ago and study it to see what it shows about how the contestants plied their trade. The reason I choose photos from an earlier time in boxing is because it is impossible to find any taken today that show the fighters doing any of these moves.The art and technique no longer exist,

The art and technique no longer exist

and that is borne out by these photos.

The latest in this series is a shot taken during either the second or third fight between Jersey Joe Walcott and Elmer “Violent” Ray. Both fights took place within a few months of each other and both resulted in very close decision wins, one for Ray and the final contest for Walcott. The two had fought each other once before early in their careers when Walcott scored a knockout over Ray. The first fight was in 1937. The final two were in 1946 and 1947.

Fight fans are well versed in the career of Walcott, the man who at the time was the oldest to win the Heavyweight Title. It can be strongly argued he was the best heavyweight of all time when it came to technical skills. He was fast, agile, could punch with the kick of a mule, and had great stamina. He was a true artist when in the ring, and like any great artist he constantly practiced his craft,

like any great artist he constantly practiced his craft

always striving to improve and learn new things. I have been told that if he was in the gym and through working out he would sit and watch other fighters training, even the amateurs. When asked why he would take the time to observe amateurs sparring he reportedly answered, “Because I might learn something, a new move, that I don’t already know.”
Walcott was a master tactician who studied boxing the way a medical student studies anatomy. He would practice his footwork as if it were choreography, which it actually is. To watch Jersey Joe in the ring is to watch a true master at work. Relaxed yet intense.

Elmer “Violent” Ray is an intriguing figure. The man had an incredible record; A total of 108 bouts with 85 wins. A remarkable 64 of those wins were by knock out. He lost just 17 contests and had 5 draws.From October of 1943 until his third fight with Walcott in March of 1947,

Elmer had 50 consecutive fights without a loss

Elmer had 50 consecutive fights without a loss Not only is that an outstanding accomplishment given the period he was fighting in, it is also a huge number of fights to have in approximately 3 and a half years.

While some may question the quality of the opposition he faced, a few names do jump out at me. He kayoed Lee Savold and Jay D. Turner as well as having the win over Walcott. He couldn’t have been fighting all stiffs and been able to come up with those wins.

There is little known about Ray. No film exists of his fights, and nobody seems to know what became of him after he gave up boxing. He just seems to have disappeared. If he had won the third fight with Walcott it is likely he would have gotten the title shot against Joe Louis instead of Jersey Joe. Instead, he fought on for a couple of more years, winning a close decision over Ezzard Charles and then being kayoed by Charles in a rematch. Not long after he quit boxing and vanished like Keyser Soze in the movie “The Usual Suspects”.

Now to the photo. This is another of those amazing pictures that captures so much of what is happening in this fight. Though it is just a fraction of a second of action, it shows us two very skilled fighters at work. We see that Walcott has moved to his right and has let fly a very hard right hand. It is possible he feinted Ray with a jab before doing this as Elmer’s right hand appears to be in position to parry a jab. His left is low but also in position to deliver a hook to the body.

Joe is putting the force of his entire body behind the blow. You can see how he has shifted the weight of his body from his right foot to his left, up on the toes of his right and flat footed with the left. He has also dropped his right shoulder further increasing the force of the blow. Just look at the power and torque in his shoulder and chest muscles. His eyes are focused on Ray, and you can see he is ready to follow up with the left hook.

Jack Dempsey used to say he got his power by punching from his hips

Jack Dempsey used to say he got his power by punching from his hips You can clearly see how Joe has put his hip into this blow. His entire core is at play here. In this photo Walcott is giving a master class in how to throw a right hand.

So, what about Elmer Ray? Well, he certainly is no slouch. As great a move as Walcott has just pulled off, it appears from Elmer’s position that he was sucked in by the feint, but he has reacted well to the move. As soon as he realized what was coming he went to a defensive move and slipped under the punch. Because it happened so fast he is still feeling the power of the blow, but Walcott does not connect to a vulnerable area of Ray’s anatomy. Elmer Ray shows us the art of slipping a punch. Remember, he didn’t have time to think about what he was going to do. He made this great move because he had practiced it over and over again. You are seeing two masters at work.

I would also call your attention to the referee. He is on his toes and as focused on the action as the boxers. He is out of the way but in a position to step in if needed. All three of these men are consummate professionals.

I get more enjoyment just looking at this photo than I can get out of watching any of the so called champs of today in a live fight. Maybe they should take some time to look at pictures such as this. They might learn something. Of course, it would probably just confuse them.

Duran v Buchanan

Should Buchanan Have Been Declared The Winner
By Disqualification?

by Bobby Franklin

(This piece was first published in the Boston Post Gazette in January of 2014.)
It was June 26, 1972 and the very popular Lightweight Champion from Scotland Ken Buchanan was stepping into the ring to defend his title against the challenger from Panama, Roberto Duran. Buchanan won the title in 1970 by outpointing champion Ishmael Laguna over 15 rounds under a very hot sun in San Juan, Puerto Rico. That same year the New York Boxing Writers’ Association named him Fighter of the Year, the first time a non American was so honored. Ken was an active champion in both defending his title and also participating in non-title matches. He was well liked by fans in the United States.

Duran-vs-BuchananDuran was a relative unknown at the time of the fight. He had built up an impressive undefeated record scoring 28 straight wins with only four lasting the distance and eleven ending in the first round. He had just one fight in the United States scoring a sensational one round knockout over journeyman Benny Huertas in NY on September 13, 1971. Was he a great knock out artist or just another unknown with a padded record? His trainers Ray Arcel and Freddie Brown knew the answer to that. They were two of the best in the business and worked hard to develop Duran’s raw power into savvy boxing skills.

The fight took place in Madison Square Garden before 18,000 fans. From the opening bell Buchanan knew he was in for a rough night as he hit the canvas within the first minute. Duran pressured and hammered the game Buchanan round after round. Bulling him into the ropes and slamming him with everything in his arsenal.

Despite the onslaught, Buchanan fought back gamely.

Despite the onslaught, Buchanan fought back gamely.He used a very fast jab in an attempt to keep Duran at bay, but the challenger was able to counter that with a very sharp and powerful right hand. Duran was rough, tossing in elbows and a number of blows that were low as well as shoving and pushing Buchanan through the ropes. He was warned only once by referee Johnny LoBianco about the low blows, and that wasn’t until the 12th round.

The fight was all Duran with Buchanan maybe winning one or two rounds going into the 11th. This is where I noticed a change in the dynamic of the fight. While the champion certainly wasn’t turning the tide, he was continuing to fight hard and hadn’t slowed down. It was at this point I saw Duran becoming frustrated with his inability to stop or to again floor Ken. He started getting wild with his punches and was talking to Buchanan.

He started getting wild with his punches and was talking to Buchanan.

It was a frustration that I would later see in his rematch with Ray Leonard, the famous No Mas Fight. Duran just had to keep the pressure on and continue with his game plan to win a decision, but he desperately wanted a knock out. In the corner you could see Ray Arcel getting angry with Roberto and urging him to calm down. Duran was starting to turn this into a more difficult fight as Buchanan was beginning to land on him. I am by no means implying Ken was taking charge of the fight, but it was becoming interesting. It also has to be remembered that Buchanan won the title by coming on in the late rounds against Laguna. In boxing it truly ain’t over till it’s over.

400px-Duran-Buchanan_The-end-of-the-fightNow for the controversy: The bell rings for the 13th round and Duran comes out with fire in his eyes. He is all over the champion who continues to fight back gamely. Ken still has plenty of life left in his legs and is not going to give up his championship easily. Duran bulls him to the ropes, and fires away at him, but Roberto’s punches are wider now, he is also getting hit with more jabs. He desperately wants to end the fight. He has Buchanan against the ropes when the bell sounds ending the round. After the bell rings Duran fires a right hand to the body that lands well below the belt line. The champion falls to the canvas in great pain. He is taken to his corner where the referee takes a quick look at him and stops the fight giving the title to Duran.

Gil Clancy, who was working Ken’s corner that night, made no protest over the stoppage. That was very odd behavior coming from the usually outspoken Clancy. When referee Johnny LoBianco was interviewed by commentator Don Dunphy immediately after the fight he told Don it was not a low blow, and if it had been it would make no difference as it was “impossible’ to be hurt by a low blow because of the protective cup being worn by the fighter. Look at the photo of the punch being landed and you will clearly see it was low. If it had been called a low blow by the ref, Buchanan would have been given five minutes to recover. Also,

LoBianco did admit the punch landed after the bell.

LoBianco did admit the punch landed after the bell.He said he stopped the fight because of that blow, and if it hadn’t landed he would have allowed the fight to continue. He clearly states he ended the fight because of the blow, which by his own admission, was landed illegally. He states that Buchanan was in no condition to continue because of that punch. Going by LoBianco’s own words, Duran should have been disqualified and Buchanan allowed to retain his title. I know Duran was well ahead in the fight, but this fight ended because of an illegal blow, a fact that was acknowledged by the referee.

Questions linger. Why did Clancy remain silent? At the very least a protest would have ensured a rematch. Why did Duran’s team refuse to fight Buchanan again? Why did LoBianco never referee another championship bout? And finally, did we see a flaw in Duran that night that would lead to his quitting against Leonard years later? I believe Duran was one of the greatest fighters of all time. He was devastating, but as with all great fighters, he had his flaws. He would get frustrated with fast moving boxers, and, even though he would be beating them, he would become impatient if it appeared he was being outboxed.

As controversies go, I am sure this doesn’t rate high on a lot of fight fan’s lists, but I still think there are questions to be answered. I have included video of the 13th round including the interview with referee LoBianco aCheck out the fight and pay attention to the interview with LoBianco as well as footage of the entire fight. See what you think.

“45 Plays For 45 Presidents” Opens At Merrimack Repertory

“45 PLAYS FOR 45 PRESIDENTS” OFFERS BOTH HUMOR AND INSIGHT TO KICK OFF MRT SEASON
227 YEARS OF AMERICAN HISTORY IN 2 HOURS
SEPTEMBER 7 – OCTOBER 2, 20

45PlaysFor45Presidents 470x470_0Just in time for the general election, Merrimack Repertory Theatre (MRT) offers offers a one-of-a-kind take on the epic sweep of American history with “45 Plays for 45 Presidents.” In just two hours, through nearly every theatrical device imaginable, we see the highs and lows our country has hit over decades and centuries. With each commander-in-chief in the spotlight for two minutes, we experience not only their lives, but the distinctive American eras in which they served. And ultimately, we appreciate that our nation’s story is one that we all have written—and continue to write—every time we vote.

“45 Plays for 45 Presidents” runs approximately 2 hours, including one intermission. Performances are September 7 – October 2. Press performances are at 8:00 pm on Saturday, September 10 (Opening Night), and 2:00 pm on Sunday, September 11. All performances will be held at the Nancy L. Donahue Theatre, located at 50 East Merrimack Street in historic downtown Lowell. Tickets range from $70 – $26 and are on sale now at www.mrt.org or by calling 978-654-4678.
The evening ends with the audience voting on who the 45th president—and what the 45th play—will be; each audience will see either a Hillary Clinton or Donald Trump play to close the show. MRT is partnering with Rock the Vote and Lowell Votes to encourage voter registration in the lobby.

About Play and its Creators
The Neo-Futurists, whose legendary “Too Much Light Makes the Baby Go Blind” has been a staple of the Chicago theatre scene since 1988, first presented this presidential play in 2002, then called “43 Plays for 43 Presidents.” Four of its five writers were members of the troupe, which is renowned for an in-the-moment aesthetic and innovative, multi-modal storytelling. The writers—Andy Bayiates, Sean Benjamin, Genevra Gallo-Bayiates, Chloe Johnston, and Karen Weinberg—created the show not as a series of impersonations, but rather as a set of fully realized theatre pieces that explore the thoughts, feelings, triumphs, and failures of the individuals we have chosen to lead our country—as well as of their families, colleagues, and adversaries.

One of the playwrights, Andy Bayiates, is a Billerica native, who was born at Lowell General Hospital. He is credited as the “Founding Father” of the play for the major role he played in its creation.

MRT Artistic Director Sean Daniels has been directing the play every presidential election season since 2004, and returns to direct again here. When he directed the play in at Dad’s Garage Theatre Co. in Atlanta, Georgia, Jimmy Carter attended (and really enjoyed the Reagan play) and subsequently invited the cast to perform at the Carter Center. Daniels later directed the play at Actors Theatre of Louisville in Kentucky and Geva Theatre Center in Rochester, NY. Of the original Chicago production, Daniels recalls: “I thought it was so smart, and so well-done. How often do you get to see a full American civics lesson in less than two hours? To see the choices we’ve made as a country, over and over again?”

More About the Production
One thing Daniels loves about “45 Plays…” is that it keeps changing, as public perceptions of certain presidents evolve. This year, Barack Obama and George Herbert Walker Bush will both have their plays rewritten. “You find that we all share the same opinions about the first 16 presidents. Everyone loves George Washington… but suddenly when we talk about Reagan, everyone feels very strongly, one way or the other, about what it all means… One thing that’s exciting for me is that the writers have to continually update it, because public ideas change.”

Audiences at MRT’s production will be immersed in diverse storytelling approaches, both comical and serious: ballet, puppetry, personal narrative, prop-driven physical theatre, and Schoolhouse Rock-style musical numbers all converge into a cohesive whole. The set will use projection panels and light boxes scattered across the MRT stage, and costumes will be crafted to represent changing American fashion across the eras. Scene change music will transform as the show progresses to reflect the popular music of each president’s tenure.

Creative Team and Cast
The five-person cast includes Veronika Duerr (MRT’s “It’s a Wonderful Life: A Live Radio Play” and “Home of the Brave”), Nael Nacer (MRT’s “It’s a Wonderful Life: A Live Radio Play”), and Terrell Donnell Sledge (MRT’s “The Realness: a break beat play”), as well as newcomers Celina Dean and Aaron Muñoz.

Director Daniels is joined by a creative team that includes Wendy Seyb (Choreography), Michael Raiford (sets), Brian J. Lilienthal (lights), A. Lee Viliesis (costumes), Stowe Nelson (sound), and Ido Levran (projections programmer).

Admission
Tickets range from $70 – $26 and are available at www.mrt.org or by calling 978-654-4678. A senior discount is offered for 10% off adult ticket prices. Student tickets are $15. Group discounts are available for groups of six or more by calling 978-654-7561. $5 Night: Wednesday, September 7 at 7:30 pm. Patrons may purchase tickets for $5, cash only, at the Box Office between 4:30 pm – 7:30 pm. Limit 2 tickets per person. Lowell Night: Wednesday, September 14 at 7:30 pm. Lowell residents may purchase tickets for $10 at the box office from 4:30 pm-7:30 pm. Proper ID required, limit 2 per person. A Military Discount of $10 off per ticket (up to four tickets per production) applies to any performance for active duty, retired, veteran, and reservist members of the military.

Seven Brides for Brothers Bursts onto the Ogunquit Playhouse Stage

The Rip-Roarin’ Musical Comedy Classic Runs From September 7 to October 1

2016_Seven-Brides_Thumb-3Pull up your boots and hold onto your hats when this all-dancing, all-singing, all-new production of the rip-roarin’ musical comedy classic bursts onto the Ogunquit Playhouse stage September 7 to October 1. Seven Brides for Seven Brothers is a big, brawling, rollicking show filled with rambunctious energy and set in 1850s Oregon Territory with a book by Lawrence Kasha and David Landay, lyrics by Johnny Mercer, music by Gene de Paul, and new songs by Al Kasha and Joel Hirschhorn. This beloved musical based on the glorious MGM hit film and Stephen Vincent Benet’s short story “The Sobbin’ Women” tells the story of Adam Pontipee and his backwoods brothers’ unusual pursuit of brides. When Adam goes to town to get a wife, he miraculously convinces the beautiful and feisty Milly to marry him that same day, and then she immediately starts reforming her six rowdy brothers-in-law. When her plan to marry off the boys backfires, this exuberant rousing musical kicks into high gear with a combination of daredevil dancing and wonderful songs like “Goin’ Courtin,” “Sobbin’ Women,” and “Wonderful, Wonderful Day.”

Nathaniel Hackman
Nathaniel Hackman

Broadway performers will headline the Ogunquit production. Starring as Adam Pontipee is Nathaniel Hackmann who is making his Ogunquit Playhouse debut. Mr. Hackmann has appeared on Broadway in Les Miserables, Beauty and the Beast, and Paint Your Wagon. He has also performed in many regional theatres throughout the U.S. in shows that include Oliver!, Sweeney Todd, Oklahoma!,

Analisa Leaming
Analisa Leaming

Camelot and many more. Also making her Ogunquit Playhouse debut is Analisa Leaming who is cast as Milly. Ms. Leaming recently appeared on Broadway in the Lincoln Center production of The King and I and in Roundabout Theatre’s production of On the Twentieth Century starring Kristin Chenoweth. She has performed in regional theatres in shows including Mary Poppins as Mary, The Sound of Music as Maria, The Music Man as Marian Paroo, and many others.

Adam’s brothers are played by Kevin Munhall (Broadway: Anything Goes; Ogunquit Playhouse: West Side Story) as Benjamin, Colin Bradbury (Broadway: Come Fly Away) as Caleb, Brian Martin (Nat’l Tour: Bullets Over Broadway) as Daniel, Abe Hegewald (Sir Tim Rice’s North American Premiere of From Here to Eternity) as Ephraim, Jeff Smith (Ogunquit Playhouse: West Side Story; Damn Yankees) as Frank, and Justin Schuman (1st Nat’l Tour: Nice Work If You Can Get It) as Gideon. The brides are played by Kelly Berman as Alice, Becky Grace Kalman as Sarah, Shelby Putlak as Liza, Maria Cristina Slye as Dorcas, Chloe Tiso as Martha, and Lizz Picini (Ogunquit Playhouse: West Side Story) as Ruth, who is also the Assistant Choreographer for the Ogunquit production.

For ticket information visit www.ogunquitplayhouse.org or call the Ogunquit Playhouse Box Office at 207-646-5511.

 

SpeakEasy Stage Presents “Significant Other”

From September 9 to October 8, 2016, SpeakEasy Stage Company will proudly present SIGNIFICANT OTHER, a sharply observed new comedy about the challenges of finding love and letting go, written by Bad Jews playwright Joshua Harmon.

so-website_bannerSlated to begin previews on Broadway in February, 2017, SIGNIFICANT OTHER tells the story of Jordan Berman, a 29 year old single gay man whose life up until now has revolved around BFF’s Kiki, Laura, and Vanessa. But as singles nights suddenly turn into bachelorette parties, Jordan starts to worry about his romantic prospects, and sets out on a journey to find his own Mr. Right.

SIGNIFICANT OTHER is the latest from playwright Joshua Harmon, whose play Bad Jews was the third most-produced play in the United States during the 14-15 theatre season. A recent graduate of Julliard, Mr. Harmon has received fellowships from MacDowell, Atlantic Center for the Arts, SPACE at Ryder Farm, and the Eudora Welty Foundation.  He is currently at work on commissions for Roundabout Theatre Company, Lincoln Center Theater, and Manhattan Theatre Club.

SpeakEasy Founder and Producing Artistic Director Paul Daigneault will direct this New England premiere production of SIGNIFICANT OTHER. Mr. Daigneault’s recent SpeakEasy directing credits include the acclaimed productions of Violet, Mothers & Sons, Big Fish, The Color Purple, In the Heights, and Next to Normal. Mr. Daigneault is the recipient of three Elliot Norton Awards, including the 2014 Norton Award for Sustained Excellence.

Norton Award nominee Greg Maraio and Norton Award winner Kathy St. George head the cast, which also includes Sarah Elizabeth Bedard, Jordan Clark, Eddie Shields, Kris Sidberry, and Jared Troilo.

The design team is Christopher & Justin Swader (scenic); Tyler Kinney (costumes); Daniel H. Jentzen (lighting) and Lee Schuna (sound).

SIGNIFICANT OTHER will run for five weeks, from September 9 through October 8, 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.

Ticket prices start at $25, with discounts for students, seniors, and persons age 25 and under.
For tickets or more information, the public is invited to call the box office at 617.933.8600 or visit www.SpeakEasyStage.com .

 

 

Hartford Stage Announces Cast and Creative Team For Queens for a Year

Cast Features Local Actress and Broadway Veterans

September 16 through October 2

show-queensHARTFORD, CT — AUGUST 23, 2016 — Hartford Stage Artistic Director Darko Tresnjak and Managing Director Michael Stotts announced today the cast and creative team for Queens for a Year, written by T.D. Mitchell and featuring local actress Vanessa R Butler.

The first show of Hartford Stage’s 2016-17 Season, Queens for a Year is a world premiere directed by Lucy Tiberghien, whose recent Off-Broadway credits include Don’t Go Gentle and Blind.

“We’re delighted to have Lucie Tiberghien and such a terrific cast joining us for this timely new play exploring the lives of women serving in the military,” said Elizabeth Williamson, Associate Artistic Director.

Butler’s credits include Gross Domestic Product and Jimmy and Lorraine at HartBeat Ensemble; Juliet in Romeo & Juliet at Capitol Classics; and Freedom: In 3 Acts at Bated Breath Theatre Company.

The cast also includes Heidi Armbruster, Time Stands Still on Broadway; Mary Bacon, Arcadia on Broadway; Alice Cannon, James Joyce’s The Dead on Broadway; Sarah Nicole Deaver, Henry V at Rutgers University; Mat Hostetler, the War Horse national tour; Charlotte Maier, God of Carnage on Broadway; and Jamie Rezanour, Romeo & Juliet at the Classical Theatre of Harlem.

In addition to Tiberghien, the creative team includes set design by Daniel Conway (Horton Foote’s Lily Dale Off-Broadway); lighting design by Robert Perry (Love in Afghanistan at Arena Stage); costume design by Beth Goldenberg (Engagements at Second Stage Theatre); sound design by Victoria Toy Deiorio (Lady Day at Emerson’s Bar and Grill at Milwaukee Repertory Theatre); and dramaturgy by Elizabeth Williamson (Anastasia, The Body of an American).

Lori M. Doyle (The Visit on Broadway) will serve as production stage manager.

In Queens for a Year, Molly Solinas, a young Marine Corps Officer, unexpectedly returns to her family home in Virginia, bringing with her an even younger female Private. Four generations of women who’ve served their country in the Marines clash during what at first appears to be a post-deployment vacation – but is revealed to be much more.

“I am grateful to Queens for a Year for telling this difficult story and shedding a light on women in the military,” said Kirsten Gillibrand, United States Senator, New York.

Mitchell, best known as a writer on the popular Lifetime series “Army Wives,” has earned accolades for many works, including her plays Beyond the 17th Parallel (National Endowment for the Arts Artistic Excellence Grant, soon to be adapted for film), A Gray Matter, In Dog Years and the upcoming VRTU-L.

 

Previews begin at 7:30 p.m. Thursday, September 8
Opening Night: 8 p.m. Friday, September 16
Closes: 2 p.m. Sunday, October 2

Tickets & Performances

Tue, Wed, Thu, Sun at 7:30 p.m.—Fri, Sat at 8 p.m.—Sat, Sun at 2 p.m.
Wed matinee at 2 p.m. on September 21 only
Weekly schedules vary. For details, visit www.hartfordstage.org.

Tickets for all shows start at $25. For group discounts (10 or more), contact Theresa MacNaughton at 860-520-7114.

For all other tickets, please call the Hartford Stage box office at 860-527-5151 or visit www.hartfordstage.org.

Special Events

Sunday Afternoon Discussion, September 18

Enjoy a lecture from artists and scholars connected with the production immediately following the 2 p.m. matinee. Free

AfterWords Discussion

Tuesdays, September 20 and 27 & Wednesday, September 21

Join members of the cast and our Artistic staff for a free discussion, immediately following select 7:30 p.m. performances on Tuesday or the 2 p.m. Wednesday matinee.

 

 

 

THE KINGSTON TRIO JOINS AMERICAN A CAPPELLA AT OCEAN STATE THEATRE

the Kingston TrioWARWICK, RI – The Kingston Trio, the groundbreaking, Grammy Award-winning American Pop-Folk group, joins 15-Time District Champions, Narragansett Bay Chorus, along with senior quartet champions, Trade Secret and up and coming collegiate stars, Curtain Call, for a very special American A Cappella show on Saturday, September 10, 2016 at 2:00 and 7:30pm.

In 1957, The Kingston Trio emerged from San Francisco’s North Beach club scene to take the country by storm, bringing the rich tradition of American folk music into the mainstream for the first time. During the late 50s & early 60s, the Trio enjoyed unprecedented record sales and worldwide fame, while influencing the musical tastes of a generation. Through changing times, the Trio has played on, remaining popular for a simple reason…great songs that sound as good today as the first time you heard them.

…great songs that sound as good today as the first time you heard them.

And fifty-eight years after Tom Dooley shot to the top of the charts, the Trio is still on the road thirty weeks a year, bringing back all the great memories and making new ones.

The Narragansett Bay Chorus is the performing unit of the Providence Chapter of the Barbershop Harmony Society – the largest male singing organization in the world! Competitively, the chorus has been the Society’s District winner on fifteen separate occasions.

Based in the Greater Providence area since 1949, the Narragansett Bay Chorus is a premier chorus that sings popular music a cappella in four-part harmony. They perform, primarily in the New England area, but have also performed in England, Canada, and across the United States. Membership includes men of all ages from Rhode Island, Massachusetts, and Connecticut.

American A Cappella featuring The Kingston Trio will be presented on Saturday, September 10 at 2:00 pm and 7:30 pm. The theatre is located at 1245 Jefferson Boulevard, Warwick, RI. Tickets are $50 for premium seating, $40 for standard seating and $25 for value seating and are on sale at the box office Monday through Friday from 12 noon – 6:00 pm, Saturdays from 12 noon – 4:00 pm and performance days from 12 noon – curtain. Tickets are also available online 24 hours a day at www.OceanStateTheatre.org and via telephone during normal box office hours by calling (401) 921-6800.