All posts by Bobby Franklin

A Beautiful Violet Grows At The SpeakEasy

 

“Violet” At The Calderwood Pavilion, Boston

Reviewed by Bobby Franklin

My review of the SpeakEasy Stage Company’s production of “Violet” could be summed up in just three words: See this play.

Flick, Violet, and Monty
Flick, Violet, and Monty

Violet, which premiered off Broadway in 1997 originally got mixed reviews, but fortunately survived and went on to play Broadway. This Boston run is being directed by Paul Daigneault who is taking it on for the second time, it played the SpeakEasy in 2000, and he has done a masterful job. Along with a remarkable score composed by Jeanine Tesori with lyrics by Brian Crawley and a first rate cast led by Alison McCartan who’s Violet is near perfect.

Violet and Young Violet
Violet and Young Violet

Set in 1964, it is the story of Violet, a young woman who has a severe facial scar that resulted from a tragic accident when she was a child. She has gathered together enough money to take a bus trip from her home in Spruce Pine, North Carolina to Tulsa, Oklahoma where she believes a faith healer can remove her scar and the emotional pain that goes with it.

Along the way she befriends a number of people including two soldiers, Flick and Monty, who both come to care for her very much. There are also scenes that occur during the performance of the young Violet, played with amazing depth by Audree Hedequist, and her father played by Michael Mendiola in a role filled with emotion that seems made to order for him. The two are beautiful to watch together and give the audience insight into how Violet’s strength was developed.

It would have been so easy for this play to have fallen into the story of a bitter young woman who is mad at the world for the bad hand she has been dealt, and the people who look at her and feel pity for her, but that is not how it goes.

Adult Violet & Father
Adult Violet & Father

Violet is tough and smart. Yes, she is angry and hurt, but at no time did I feel pity for her. I was sympathetic towards her, but I also recognized the amazing strength of her character. Flick does as well. Her father did a remarkable job giving her the tools to enable her to deal with life, which is conveyed in the number “Luck of the Draw”. The people Violet encounters on her trip learn as much from her as she does from them.

The musical score is breathtaking covering many genres including gospel, folk, rock, and country. It is hard to believe one composer could master so many different types of music. While all the numbers are outstanding I do have to make mention of “Let It Sing” performed by Dan Belnavis as Flick. His incredible voice fills the theater with emotion.

John King as Preacher
John King as Preacher

I would also note that the scenes with the faith healing preacher are played just right by John F. King who did not slip into parody, which would have been easy to do, but instead showed the human qualities of the man without diminishing him. It was not easy to do, but Mr. King got it right.

Again, see this play, you will not be disappointed. Violet will move you, touch you, and make you want to Let It Sing! What you see and hear will stay with you long after you experience this amazing production. Theatre is alive and well in Boston thanks to the SpeakEasy Production Company.

Photo Credit: Glenn Perry

Violet, playing through February 6th at the Stanford Calderwood Pavilion, 527 Tremont St., Boston.617.933.8600

www.BostonTheatreScene.com


 

 

 

 

Quarry Defeats Klitschko And Fury On The Same Night

Jerry Doesn’t Break A Sweat

by Bobby Franklin

Now that November’s Fury vs Klitschko so called heavyweight title fight is history I thought most fight fans would have finally accepted the fact that neither of these guys know how to fight. They don’t even have the basics down. Well, it turns out I was mistaken. If I can believe what I read on the various on line boxing sites there still is a very large number of self described boxing experts who believe Wladimir and Tyson should be ranked among the best of all time. The most common reason cited is their size. Typical of the comments you will read is “Sure, guys like Dempsey, Louis, and Marciano were good in their day, but they were way too small to stand up to the giants that dominate the division today.”

Quarry Lands jab On Foster
Quarry Lands jab On Foster

I have already written about that fight, and I still stand behind my statement that it was the worst heavyweight title fight in history, and that there was not a single former champion from Holmes going back to Sullivan who would have lost to either Fury or Klitschko. There are many who have voiced disagreement with me. What I would like to do with this column is ask my readers to go back not too many years and examine a fighter who never won the title, but one who had a number of victories over opponents bigger than he was and who were murderous punchers. You can watch many of these fights on Youtube. Set emotion aside and take some time to examine Jerry Quarry in these fights. After doing so, watch a replay of the Wlad vs Tyson fight. If you still believe either of these guys could have beaten Jerry send me a case of whatever you are drinking.

 

Jerry Destroys Shavers
Jerry Destroys Shavers

Many believe Jerry Quarry’s best night was his one round knock out win over the murderous punching Earnie Shavers. Jerry was beautiful that night in Madison Square Garden and completely demolished Shavers in a little over two minutes. Earnie entered the ring riding a 33 fight win streak with all but one of those victories coming via knockout. This was a stunning and outstanding win for Jerry, but it was not some fluke. Quarry took on and defeated many other great punchers.

The other two fights to watch are Jerry’s bouts against Mac Foster and Ron Lyle. Foster was undefeated in 24 bouts with all his victories coming via knockout whle Lyle also had an unblemished record of 19 straight wins with 17 knockouts. Both were fearsome punchers who had a hundred times the ability and skill of Fury and Klitschko.

Watching both of these fights you will see Jerry performing as the consummate boxer/puncher. He is cool and methodical as he calmly slips the bombs being tossed at him by both of these opponents. He pivots and throws left hooks to the body in order to get his foes to lower their guards. In the case of Foster he is able to stop him in the sixth round. Against Lyle he handily wins a decision. By the way, both of these men were bigger than Jerry.

Quarry Drops Patterson
Quarry Drops Patterson

Jerry was a brilliant counter puncher who could fight off the ropes. He dropped Floyd Patterson four times in two fights with at least two of those knockdowns being the result of counterpunches thrown while Quarry had his back to the ropes.

Jerry could move on his feet, feint, had terrific head movement, work both the body and the head, and he was able to set traps to ensnare his opponents. The modern day boxing fan might not recognize a lot of this when watching film of these fights. The reason for this lack of understanding involves a few things. First, very few if any fighters today know how to do any of these moves, never mind having a full repertoire in their arsenals, so today’s fans have never seen these things. Two, the commentators, with some exceptions, do not know what these moves are so would be unable to point them out even if they were happening. And three, today’s trainers do not know enough to teach these techniques. This is wildly evident when watching Klitschko and Fury. They do not even have the basics down.

So, let’s transport Jerry Quarry to the present day and have him step into the ring with Wlad and Tyson. In the case of Klitschko, the former champ would come out standing straight up in that very tight wide stance which is all he knows. He would begin pawing with his ponderous jab. At first Jerry would probably be hesitant thinking that he is being lured into some sort of a trap. He would soon figure out what was going on because when he feints Wlad he would see him flinch and close his eyes. After that the end would come quickly as Jerry would slip the jab and land monstrous left hooks to the body that would double Dr. Hammer up. At that point Jerry would easily finish him off.

Having now ended his match against Klitschko, the promoters could immediately bring Tyson Fury into the ring. After a brief introduction the bell would ring for the first round. Fury may last a little longer as he would begin running as fast as he could while the sound of the bell is still lingering in the crowd’s ears. This fight would end in one of two ways. Either Fury is counted out after being hit by the first blows Jerry lands, or he is disqualified for turning his back and attempting to turn a boxing match into a 10K road race.

I am not trying to be sarcastic here as I have no doubt this is what would happen. Jerry Quarry was a top fighter in an era of great fighters. He was a complete professional who had spent years learning and perfecting his craft. Letting him step into the ring against any of today’s heavyweights, and I don’t care how big they are, could be considered a criminal act because Jerry would be bringing in a full arsenal against unarmed men.

If you want to see a fighter who knows his craft don’t waste your time watching the current crop of contenders, check out Jerry Quarry performing his craft. That boy could fight!

RINGING IN THE HOLIDAY SEASON WITH TRINITY REP’S A CHRISTMAS CAROL

Storybook London comes to life| November 7- December 31

PROVIDENCE, RI: Trinity Rep announces its annual presentation of Charles Dickens’ A Christmas Carol, directed by Curt Columbus, and featuring resident acting company member Stephen Berenson as Scrooge. Performances run November 7 through December 31. Tickets are on sale now and by phone at (401) 351-4242, online at www.trinityrep.com, or in person at the theater’s box office at 201 Washington St. A Christmas Carol is presented by Cardi’s Furniture with supporting sponsor Amica Insurance.

Stephen Berenson as Ebenezer Scrooge
Stephen Berenson as Ebenezer Scrooge

A timeless tale of forgiveness and hope enjoyed by generations of New Englanders, this holiday favorite earns rave reviews from audiences and critics year after year. The Boston Globe praises the annual tradition saying, “There is no better Carol than the one that Trinity Repertory Company puts on every Christmas season.”
“A Christmas Carol is a story of compassion, generosity and possibility, which are all part of the holiday spirit,” remarks director Curt Columbus. “It simply would not be Christmas in Rhode Island without this show, and sharing it with the community every year is our way of celebrating the season with our neighbors.”

Stephen Berenson as Ebenezer Scrooge with Rachael Warren and Joshua Lomeli as solicitors for the poor
Stephen Berenson as Ebenezer Scrooge with Rachael Warren and Joshua Lomeli as solicitors for the poor

This year’s Carol features many Trinity Rep resident acting company favorites including Stephen Berenson, Janice Duclos, Phyllis Kay, Brian McEleney, Anne Scurria, Fred Sullivan, Jr., Stephen Thorne and Rachael Warren; guest actors Adrian Blount and Whitney White; and Brown/Trinity Rep MFA actors Dennis Kozee, Joshua Lomeli, and Kyle Vincent Terry.
Trinity Rep also welcomes twelve talented local children, ages 8-12, to the stage. One hundred fifty child actors auditioned and the rotating cast includes: Damola Adebayo of Providence, Calista Aguinado of Warwick, Lillian Johnson of Johnson, Thomas Fitzgerald of Warwick, Gustavo Londono of Cranston, Laurel McMahon of
Warwick, Amaryllis Miller of Cranston, Bobby Miller of Cranston, Antonio Ross of North Providence, Ronin Scott of Warwick, Billy Stockton of Johnston, and Delaney Wilson of Berkeley, MA.

Kyle Vincent Terry as Fred, Whitney White as Lucy, Adrian Blount as Sister-in-law and Dennis Kozee as Topper
Kyle Vincent Terry as Fred, Whitney White as Lucy, Adrian Blount as Sister-in-law and Dennis Kozee as Topper

The design team includes Michael Rice (music direction), Shura Baryshnikov (choreography), Deb O (set design), Toni Spadafora (costume design), Josh Epstein (lighting design), Peter Sasha Hurowitz (sound design) and Aaron Rhyne and John Narun (projection design).
Curt Columbus became Trinity Repertory Company’s fifth artistic director in January 2006. He is also the artistic director of the Brown/Trinity MFA programs in Acting and Directing. Trinity Rep directing credits include Middletown, Vanya and Sonia and Masha and Spike, The Merchant of Venice, His Girl Friday, Camelot,
Cabaret, The Odd Couple, The Secret Rapture, The Receptionist, Memory House, Blithe Spirit, A Christmas
Carol, Cherry Orchard and the world premieres of The Completely Fictional, Utterly True, Final Strange Tale of Edgar Allen Poe and Social Creatures. Trinity Rep has been home to the world premieres of three of his
plays, Paris by Night, The Dreams of Antigone, and Sparrow Grass. Trinity has also produced his translations of Chekhov’s The Cherry Orchard and Ivanov, as well as Georges Feydeau’s A Flea in Her Ear.

Whitney White as Ghost of Christmas Past
Whitney White as Ghost of Christmas Past

Prior to coming to Trinity, Curt lived and worked in the Chicago theater scene for almost twenty years. He was artistic associate of Victory Gardens Theater from 1989-1994, the director of the University of Chicago’s University Theater from 1994-2000, and the associate artistic director of Chicago’s Steppenwolf Theater Company from 2000-2005, where he premiered his translations of Chekhov’s Uncle Vanya and The Cherry Orchard, and Elsa Bernstein’s Maria Arndt.

Curt’s adaptation of Dostoevsky’s Crime and Punishment (with Marilyn Campbell) has won awards and accolades at theaters around the United States, the United Kingdom and Australia. His translation of Chekhov’s Three Sisters, developed at the Arden Theatre in Philadelphia, was published by Dramatists Play Service, as was his play, Sparrow Grass, and his translation/adaptation of Ivanov.

Photo Credit: Mark Turek

But Can He Take A Punch?

A Young Cassius Clay Answered

That Question Early In His Career

by Bobby Franklin

When Cassius Clay exploded on the professional boxing scene after winning a gold medal at the 1960 Olympic games in 1960, the public knew they were witnessing the rise of not just a very talented young boxer but also seeing a figure who was going to make boxing interesting and colorful again. This was in his pre Black Muslim days when he was known for his braggadocio rather than his political views.

Young Cassius had watched how professional wrestlers would attract crowds by putting on a show before the matches. They would brag about what they were going to do to their opponents, and in the case of one who had a particular influence on Clay, Gorgeous George would talk about how pretty he was. Cassius, with his outgoing personality, good looks, and gift of gab was a natural for this approach. It also didn’t hurt that he was an extremely talented boxer.

Of course, this bragging didn’t sit well with all boxing fans. Some did, as he knew would happen, pay to see him get beaten. They felt the loudmouth deserved to have his big trap shut by a knockout blow.

Another thing that irked those rooting against him was the fact that he moved fast and was very difficult to hit with a solid shot. Cassius played on that as well by saying

“I am just too pretty to be hit.”

Those who wanted to see him take a licking came to believe that if he was finally tagged he would not be able to take a punch, and that he really wasn’t tough enough to deal with being in a serious slugfest. They questioned his heart. If only an opponent could reach his jaw this big mouth would be finished. He was just talk but would never be able to back it up in a real fight.

This question about Clay’s ability to take a punch lingered for years, but he proved his mettle in only his 11th fight against the hard punching Sonny Banks. Not only could he take a punch, but he also showed he could fire right back when hurt.

Sonny Banks came into the fight with a record of 10 wins and 2 losses with 10 his wins coming via knockout. He was another young prospect and, even this early in his career, was known for his punching power.

The two met on February 10, 1962 at Madison Square Garden in a ten round main event. Clay had predicted he would stop Banks in the 4th round, but the fight almost ended much earlier then that and not in Clay’s favor.

In the opening round Cassius came out dancing. He was circling Banks and throwing jabs. As was his usual form, Clay had his hands down and was avoiding punches by moving his head and staying mobile.

Banks Drops Clay
Banks Drops Clay

Not long into the round Cassius back Sonny into a corner. Clay squared up with Banks and Banks fired a solid left hook that caught Clay flush on the jaw dropping him. It was a sold punch and Cassius went down on his back. It should also be mentioned that shortly before the hook was landed Clay was also on the receiving end of a solid right hand.

It can be argued that Clay went down because he was somewhat off balance when he was hit, but make no mistake about it, this was a hard left hook to the jaw.

So, how did Clay react now that he had finally been tagged? He got to his feet at the count of two. He took the mandatory 8 count and then he changed his style. There was no quit in him at all, quite the contrary. When the action resumed Clay steadied down and began throwing very hard shots at Banks. Sure, he was still circling, but he was more flat footed now and throwing hard punches with great accuracy. He was also throwing them with tremendous speed. He was angry that he had been decked and was now taking that anger out on Sonny.

Clay Stops Banks
Clay Stops Banks

In the second round he dropped Banks with a lightening fast right/left combination. He then battered him constantly and referee Ruby Goldstein was about to step in and stop the bout when the bell rang ending the third round. The doctor was called in to examine Banks before the start of the fourth and allowed the fight to continue. It didn’t last much longer as Cassius unloaded a fusillade of punches causing Goldstein to jump in and stop the fight at 26 seconds of the round.

For those paying attention at the time, they would have seen a number of things in young Cassius that had champion written all over them. He was able to take a great shot to the chin and survive it, and not only survive but not even be flustered by it. His first thought when hitting the canvas was to get right back up again and get back into the fight. He also showed the heart of a champion by fighting back with an intense fury. He adapted his game plan and would not be hit another good shot for the remainder of the bout.

Any talk about Cassius Clay’s heart and ability to take a punch should have ended that night in Madison Square Garden, but many were so blinded by their dislike of the brash youngster they would not give him the credit he earned in that fight. He would go on to prove the critics wrong time and time again.

Looking back on that February night in 1962 I would say Cassius answered his critics and the smart money should have been on him after that.

Two Ton Tony Was No Bum

 

by Bobby Franklin

Had Louis On The Canvas, But That Was Not His Best Round

Classy Tony Galento
Classy Tony Galento

Two Ton Tony Galento was the only opponent Joe Louis ever really disliked. When Joe fought Max Schmeling his fury was based on his wanting to avenge his loss as he felt he would not be the true champion until he defeated the German who had previously knocked him out. He was also was representing the United States in a symbolic battle against the evils of Nazis Germany.

With Galento it was a very different case. Tony had repeatedly made disparaging comments about Joe, his most famous being “I’ll moider da bum.” The Brown Bomber did not take kindly to being called a bum. At one point during training Joe asked a reporter, “Why that little fat man keep calling me a bum?”

Today’s fans may not see what the big deal was in such comments being made, but in the era of Joe Louis fighters, showed respect for one another.

in the era of Joe Louis fighters, showed respect for one another.

Sure, there were plenty of colorful characters around back then, but they rarely launched personal attacks on their opponents. Their was a mutual respect that existed among those in the sport, and Louis felt Galento had stepped way over the line. This was the only time Joe entered the ring where he was angry at his opponent. He said he wanted to punish him. Even years later when both Joe and Tony appeared together on Curt Gowdy’s program “The Way It Was” to watch clips of and discuss the fight you could see Louis still didn’t care for Galento. He said on the program that he wanted to carry the New Jersey brawler for ten rounds before knocking him out in order to inflict damage on him first. So, why didn’t he?

Galento had a big mouth and was obnoxious in his comments before the bout, but he had the punch, heart, and skill, yes, I said skill, to give the champion a fight. Tony was  rated the number one contender for the title by Ring Magazine, and he had earned his shot with a winning streak of eleven straight fights against top contenders. Make no mistake about it, while he hardly looked the part of a great boxer with his rotund figure, he was very talented at fighting out of a crouch and counterpunching. He also had a lethal left hook that was instrumental in his scoring knockouts in 57 of his 80 victories. Tony was also one of the dirtiest fighters to enter the ring. He was well schooled in using his head, elbows, and thumbs.

On June 28, 1939 Joe and Tony entered the ring at Yankee Stadium. In front of a crowd of 34,852 they received their prefight instructions from referee Arthur Donovan. Even at this point Tony couldn’t resist acting up. There was a problem with the amount of Vaseline Galento had on his face, so the referee had his handlers wipe it off. Tony then reached over and rubbed his hand over Joe’s head. This only added to the champion’s anger.

At the bell for round one Galento came out of his corner in a very low crouch and was leaning to his right in order to be on the outside of Joe’s left jab. By doing this he was putting himself into Joe’s blind spot. It was a very good tactic as Joe was known to have some difficulty  with fighters who fought out of a crouch. Tony slipped the jab and landed some decent left hooks to Joe’s body. Joe was making the mistake of punching down at Tony instead of bending at the knees to get on an even plane with the challenger. At one point Galento slipped Louis’s jab and landed a solid left hook to Joe’s chin hurting him and driving the champion to the ropes. Joe looked a bit hurt but maintained his composure. Galento, emboldened by what he had accomplished, went after the champion and got a bit wild. The first round went to the challenger, and the crowd was very excited by what they had just witnessed.

Louis Drops Galento
Louis Drops Galento

In round two Tony was not crouching down as much and Joe was now bending his knees and finding the range. Tony had abandoned what was a good strategy and was now just bulling his way forward. He was also using his head and elbows on the inside. Joe dropped the challenger with a beautiful right left combination that would have knocked out many another man, but Tony was up at the count of two and still full of fight.

Galento Puts Louis On The Canvas
Galento Puts Louis On The Canvas

Round three was interesting for one reason. By now Galento had completely abandoned his crouch and counterpunch tactics and was standing straight up in front of the champion while throwing wild punches. He was hoping to get lucky and land the big one. Mid round, while Louis was throwing a left hook to the body, Tony landed a left hook to Louis’s head that caught the champion off balance. Louis went down more embarrassed than hurt and was up almost immediately. For the rest of the round he pummeled Tony. While this is the punch Galento will be remembered for, it was not nearly as damaging, other than to Joe’s pride, than the hook he landed in the first round. The hook in the opening round was an excellent counter punch that was executed with great skill. The knockdown blow was more of a lucky punch.

The End For Galento
The End For Galento

As the bell rang for round four it was now Joe’s turn to abandon his fight plan. No, he would not get wild, but he no longer was going to punish Tony for ten rounds before knocking him out. He was now going for the kill. I believe it was Max Baer who once said “Fear is looking across the ring at Joe Louis and knowing he wants to go home early.”

“Fear is looking across the ring at Joe Louis and knowing he wants to go home early.”

Well, Joe had decided it was time to go home, and if Galento had any sense he would have been scared, but Two Ton Tony came out ready to go down fighting. He took a horrific beating during the two minutes and twenty-nine seconds that elapsed until Arthur Donovan stepped in to stopped the carnage. Galento was beaten to a pulp and would receive forty stitches to his face after the bout.

In the post fight interview Joe Louis did not gloat. As much as he disliked Tony Galento, he praised his ability and called him a great fighter. Joe Louis was always the definition of class.

This fight will always be remembered for the fact that Galento dropped the great Joe Louis, but Tony’s greatest moments came in the first round when he had the champion hurt.


White Christmas the Musical

Broadway’s Jeffry Denman and Joey Sorge to Star in the Ogunquit Playhouse Production of Irving Berlin’s White Christmas the Musical on Stage at the Historic Music Hall in Portsmouth, NH

Two Broadway veterans are slated to star in the upcoming Ogunquit Playhouse production of the beloved holiday classic White Christmas at the Music Hall in Portsmouth, December 9 to 20. Jeffry Denman will reprise his role as Phil Davis and Joey Sorge will play Bob Wallace in this heartwarming musical adaptation that features the book by David Ives and Paul Blake and seventeen Irving Berlin songs including “Blue Skies,” “I Love A Piano,” “How Deep Is the Ocean” and the perennial favorite, “White Christmas.”  The story follows the two World War II veterans whose successful song-and-dance act finds them following two beautiful singing sisters to Vermont in search of romance and to put on a Christmas show –but, will there be snow?

Jeffrey Denman
Jeffrey Denman

Jeffry Denman played Phil Davis in the world premiere, cast recording and original Broadway (Astaire Award nomination) casts of White Christmas and won an IRNE Award in 2007 for the Boston production. An accomplished director and choreographer as well, Jeffry choreographed the Ogunquit Playhouse productions of The Music Man and West Side Story and directed and choreographed Damn Yankees. On Broadway: The ProducersCatsDreamHow To Succeed. Encores: Face the Music, Of Thee I Sing. Off Broadway: YANK! (Drama Desk, Lortel, Callaway noms), PassionChildren of a Lesser GodThe Holiday Guys. TV/Film: Erotic Fire of the Unattainable, Law & Order, Nurse Jackie, PBS Great Performances. Regional: Kid Victory (Signature), Crazy for YouSpamalot (Ogunquit), Singin in the Rain (MUNY), Into the Woods (Baltimore Center Stage, Sacramento Music Circus).

Joey Sorge
Joey Sorge

Starring as Bob Wallace is Joey Sorge who recently played the lead in the Ogunquit production of Nice Work If You Can Get It and was part of its original Broadway cast with Matthew Broderick and Kelli O’Hara. On Broadway he also appeared in How To Succeed In Business Without Really Trying, The Drowsy Chaperone, Thoroughly Modern Millie and as Young Buddy in the 2001 revival of Follies. Sorge also starred in the Ogunquit Playhouse productions of Singin’ in the Rain and The Drowsy Chaperone. Off-Broadway: Sondheims’ Saturday Night (Second Stage) and Summer of ’42 (Variety Arts). National Tours include: Lord Evelyn Oakleigh in Anything Goes, the iconic Fonz in Happy Days – A New Musical, and Jimmy Smith in Thoroughly Modern Millie. He has been seen regionally in Victor, Victoria at TUTS, Animal Crackers at Williamstown, Grease at Papermill, Radio Girl at Goodspeed, and Marty at Huntington Theatre. His film credits include: New Year’s Eve, Valentine’s Day, Contradictions of The Heart, Providence, and Audrey. TV/Web:  “The Knick”, “Alphabet Boys,” “Person of Interest,” “Numb3rs,” “Commander in Chief” and the remake of “Night Stalker.”

Tickets are on sale now at The Music Hall by calling 603-436-2400, online at www.themusichall.org or visiting the box office at 28 Chestnut St, Portsmouth, New Hampshire.

Stage Noir Comes To Hartford

Review: Rear Window at the Hartford Stage

by Bobby Franklin

Hal (Kevin Bacon), Thorwald (Robert Stanton), Mrs. Thorwald (Melinda Page Hamilton)
Hal (Kevin Bacon), Thorwald (Robert Stanton), Mrs. Thorwald (Melinda Page Hamilton)

Rear Window, now playing a sold out run at the Hartford Stage is not an adaptation of the Alfred Hitchcock movie. This version has been adapted for the stage by Keith Reddin from the original story by Cornell Woolrich. The leading chararcter, Hal Jeffries, played by Kevin Bacon, is much darker than the one in the movie. He is an alcoholic who is dealing with many demons that at times lend a dreamlike quality to the play.

I doubt there are many of you who do not know the story, so I will not go into detail other than to describe some of the differences. Instead of a beautiful girlfriend, Hal has Sam, a handsome young African American man who met Jeffries in a bar, though Hal claims not to remember the meeting. The homicide detective is now Lt. Boyne, a homophonic racist who immediately has it in for Sam. The back and forth between the two is not pleasant to watch.

Robert Stanton does a marvelous job of playing Thorwald, the man Hal believes has murdered his wife. He is a milquetoast guy married to an alcoholic woman in a relationship that has no chance of improving.

Sam (McKinley Belcher III) and Hal (Kevin Bacon)
Sam (McKinley Belcher III) and Hal (Kevin Bacon)

The actors in this production are all great, and there is no doubt it sold out before its first performance because of Kevin Bacon. But it is unfair to say this is a hit because of the big name on the marquee. Yes, Mr. Bacon is fantastic in the role, hobbling about on crutches, maneuvering around his flat in a wheelchair, and deducing that a crime has been committed all while he is either drunk or hung-over. The sexual tension between Hal and Sam is also slightly ambivalent as Jeffries has dreams of his former wife whom he confuses with the murdered Mrs. Thorwald, but there is no doubt where his desires truly lie.

The script by Keith Reddin, direction by Darko Tresnjak, and the amazing sets all stand on their own as reasons to see Rear Window.

The Hartford has made Film Noir into Stage Noir

The Hartford has made Film Noir into Stage Noir and the darkness and sultry moods play as well live as on the big screen. Seeing a mystery while already knowing the outcome, or at least thinking I did, is something I thought think would spoil the whole story, but midway through I was not sure I was going to see the same ending as in the movie. This had me moving more to the edge of my seat as the story progressed.

Thorwald (Robert Stanton)
Thorwald (Robert Stanton)

Now to the sets; I have been very impressed in the past by the extraordinary job the team at the Hartford Stage has done, but in this case they have far surpassed even their own high standards. Alexander Dodge has designed a stage that in just a couple of seconds transforms from Jeffries living room to a view into the courtyard where he can see into the windows of his neighbors. Walls disappear and reappear, rooms spin around so they can be seen into and then are neatly tucked back into place. It is just amazing to see. Lighting by York Kennedy and sound by Jane Shaw add so much to the mood of that hot August night in 1947 that I wanted to put my face in front of the one fan in Hal’s apartment to cool myself off. The sound and lights of the train passing outside the window add to the feel of living in a New York City tenement in the days before air conditioning was a household item. Looking at the side of the building with the occupants searching for ways to cool off reminded me of the George Bellows’ painting Cliff Dwellers.

My readers who are fight fans will appreciate how this story fits so well on a stage just as boxing is perfect for the television screen.

This run is sold out and I don’t know if it will move on to another theater or have any performances added at the Hartford. I would urge my readers to sign up to the Hartford Stage mailing list in order to have a chance at any tickets that become available.

Rear Window
Playing at The Hartford Stage
Through November 15th
www.hartfordstage.org
860-527-5151

Stage Review: Casa Valentina

Life Is Never Simple

by Bobby Franklin

Thomas Derrah and Kerry A. Dowling Photo Credit: Glenn Perry
Thomas Derrah and Kerry A. Dowling
Photo Credit: Glenn Perry

In the early 1960s small groups of heterosexual men would spend weekends at a bungalow camp in the Catskills called Casa Susanna. While there they would dress and act as women. They were not there to have sex parties, but rather to explore and experience their feminine inner selves and to be in an atmosphere where they felt safe and relaxed. A few years ago a collection of photographs from this retreat were discovered at a flea market and later published in a book. Playwright Harvey Fierstein was approached about making a play based on the happenings at Casa Susanna. He at first refused, but after looking further into the subject decided to move ahead with the project. It is fortunate he did and the result, Casa Valentina is now playing at the SpeakEasy Stage in Boston.

Okay, I can see some of my readers rolling their eyes and saying this has got to be too weird. Why would I spend money to see two hours of drag queens prancing around a stage? Well, I’ll tell you why.

First off this is a very funny play. I don’t remember seeing a play or movie where I wanted to remember so many one-liners since I last saw a Marx Brother’s movie. A number of them are from Oscar Wilde, but most are from the pen of Mr. Fierstein, and they are very, very funny.

While you are laughing you will also begin to see a very interesting story unfold filled with tension and a message of how almost nothing in life is simply black and white. The men who spend time at Casa Valentina are not drag queens.

The men who spend time at Casa Valentina are not drag queens.

The resort is run by Rita and George who are married. George, played by the wonderful Thomas Derrah, also spends time in his female persona Valentina. Kerry A. Dowling plays the part of Rita, a wig designer. The two met at her shop and instantly hit it off and married soon after. George’s dream was to open a place where cross dressing men could spend time together. They opened Casa Valentina in a run down bungalow across the street from a nudist camp in upstate New York.

They play is set in June of 1962 when a small group of men gather to dress and share time together. Jonthan (Greg Maraio) is a newcomer and it is also his first time going public with his other self Miranda. He is very nervous and arrives for dinner looking frumpy and disheveled. The others immediately accept the challenge to give him a makeover and the results are astounding.

Eddie Shields, Thomas Derrah, Robert Saoud Photo Credit: Glenn Perry
Eddie Shields, Thomas Derrah, Robert Saoud
Photo Credit: Glenn Perry

Things turn serious when Charlotte (Will McGarrahan) calls a meeting of the group and tries to convince them to go public with their lifestyle. She has in the past been arrested for what at the time was considered lewd behavior and is defiant. She also publishes a magazine on the subject of cross dressing . Charlotte and Valentina believe it is important for the public to know they are not “faggots”, and are really just normal men doing something they enjoy.

It is interesting that strong feelings of homophobia exist among some of the group

It is interesting that a fairly strong expression of homophobia exists among some of the group who want to exclude gays from being any part of their world. Charlotte tells the others that by going public they will open the door to the day when cross dressing will become as accepted as smoking in public while homosexuals are still hiding in the shadows. We can see how that all worked out.

Most in the group are not at all comfortable with having their names put out publicly, and with good reason. Most are married with families and have jobs. In the early 60s such a revelation would certainly be devastating for them. Given that context,  Charlotte’s request seems quite unreasonable. There is also much disagreement about the banning of gays. Terry (Sean McGuirk) who is one of the older members of the group tells of how she has been thankful for having gay friends because they are accepting of her, and she will in no way turn on them.

To further complicate matters, there is the issue of some pornographic photos that were addressed to George/Valentina but were confiscated by the postal authorities. We come to learn that these photos were meant for Amy (Timothy Crowe), a judge nearing retirement. Charlotte uses this information in an attempt to blackmail the judge and things then explode.

It is very interesting to observe “outsiders” debating how to be accepted by society while at the same time excluding and belittling others who have been shunned and persecuted. It shows that even those who are victims of hate are also very capable of being filled with hate themselves and hurting others.

The scene I found most disturbing is when the Judge’s daughter Eleanor (Deb Martin) arrives at Casa Valentina to retrieve her father’s clothing and wallet. The Judge has been taken to the hospital after realizing his private life was now going to be exposed. She is extremely angry and tears into Rita and George over the pain she and her family have suffered over the years because of her father’s behavior. Ms Martin does a wonderful job in conveying the pent up anger Eleanor is now unleashing, though Rita and George seem completed unaffected by it. They stand there emotionless through it all. Their Narcissism shields them from any feelings of empathy towards Eleanor.

Their Narcissism shields them from any feelings of empathy towards Eleanor.

There is so much more in this excellent play. Direction by Scott Edmiston is top shelf. Costumes, lighting, and set design are also terrific.

I highly recommend Casa Valentina. The one liners are worth the price of admission, but you will get much more than that from this thought provoking play.

Casa Valentina

The SpeakEasy Stage Company

Playing at the Stanford Calderwood Pavilion

527 Tremont Street, Boston

Through November 28th

617.933.8600

www.SpeakEasyStage.com

 

 

 

Stop The Presses! Boxer Wins Fight Using Left Jab!

by Bobby Franklin

Golovkin vs Lemieux
Golovkin vs Lemieux

The other night I witnessed further proof of just how far removed today’s boxing is from having any resemblance to the fine art it once was. It wasn’t so much the fight itself,though that did contribute greatly to my feelings, but more so to the reaction during and after.

The fight was the Gennady Golovkin vs David Lemieux Middleweight Title fight. I had debated whether or not to spend $50.00 (I had sworn never again to buy a pay per view fight) to view the bout as I do feel Golovkin is about the only fighter out there today who is worth watching. While contemplating my decision I watched some footage of Lemieux in action to see if I felt he would be at all competitive. It didn’t take long for me to realize that this was certainly not going to be a match worthy of spending money on. Lemieux is a tough, strong kid with almost no boxing ability. Watching him in action I could immediately see he had learned what he knew from spending hours hitting the punch mitts.

I could immediately see he had learned what he knew from spending hours hitting the punch mitts.

He threw his punches from his waist up and had no sense of footwork what- so-ever. He tossed shots in a very predictable one-two and one-two-three manner while pausing in between to regain his balance. He obviously would have no chance against GGG.

Early the following morning I watched a replay of the fight. It was, as I expected, a very one-sided affair. Golovkin utilized a decent left jab to keep Lemieux at pay and to punish him. David was at a complete loss in being able to cope with the jab. He did not know how to slip it. He did not know how to parry it. It was as if he had never dealt with the jab before. It was like a foreign language to him.
Listening to the commentators, you would have thought Gennady had invented a new punch. They were in awe of his phenomenal jab. They kept rattling off the number he had thrown during each round. They also repeatedly commented on how this amazing punch was keeping Lemieux confused and unable to launch an offense. Yes! Gennady Golovkin was actually throwing left jabs. Just amazing!

The incredulity continued on social media. Fans were stunned by this display of boxing prowess. The dominant left jab was something most of them had never seen before. What was once the most basic and important punch in boxing was now being talked about as if it were a secret weapon delivered to the Earth by aliens from another planet with a vastly superior intelligence to us. Shock waves rippled throughout the Blog-a-sphere. Is Golovkin really one of us or some super being from a galaxy far away?

Back when boxing was actually being taught as the serious art it once was the left jab was the first punch taught to aspiring boxers. Students were shown how it was both an offensive and defensive punch. How it was the key to landing any other punch.

“Hey kid, if you can’t land the jab you, you can’t land any other punch.”

“Hey kid, if you can’t land the jab you, you can’t land any other punch.” was a common line heard in boxing gyms. Great contender Tony Shucco used to tell me, “Hit ‘em with the left, they like it. Then every once in a while toss a right so they don’t get bored.” “Stick and Move.”, “Pepper him with the left.”, “Pop that jab out there.”, were other lines you would hear over and over again back in the day.

On the flip side, young boxers were also taught how to slip and parry the jab. As great a punch as the jab could be for setting up an opponent, it could also be the opening your foe could use to counter you. Timing the jab and then throwing a right cross over it is a very effective maneuver. It takes a lot of practice, and not the type of practice you get hitting the foolish punch pads. Another skill is slipping outside the jab and hooking to the body. This is a move rarely if ever seen today.

Another lost move is feinting the jab and then turning it into a hook. This is the tactic that was employed so effectively by Billy Conn in his first fight with Joe Louis. It almost won him the title.

Jabs also come in many different varieties. There is the tapping jab where a fighter doesn’t hit his opponent terribly hard, but he hits him repeatedly and frustrates him by keeping him off balance with it. Then there is the stiff armed jab that was used so well by Light Heavyweight Champion Bob Foster. Foster would snap his jab up from his waist and punch right through his opponents. It was a brutal punch that busted up many of his challengers.

Wepner vs Liston
Wepner vs Liston

It’s funny, but as I was contemplating this column a friend sent me a clip of the Chuck Wepner vs Sonny Liston fight. We had talked a bit about this whole madness over GGG using the jab, and my friend told me to take a look at Wepner in his losing fight with Liston. Yes, Wepner, the Bayonne Bleeder, the guy considered to have very few boxing skills was actually using a fairly effective left jab in this fight. It just goes to show that it wasn’t all that long ago that even the crudest boxers knew how to throw the jab. It would be interesting to see how Mr. Wepner’s jab would do against today’s unschooled heavyweights.

I am often criticized for pointing out the lack of boxing skills in today’s fighters. I don’t blame the boxers as they train hard, are in good shape, and are just following instructions. The problem lies in the fact that there are no good teachers out there. The techniques employed to develop these skills are not there either. Abel Sanchez, GGG’s trainer, appears to one of the only trainers left who has some sense of what skills a good boxer should have, and that is why Golovkin is such a standout. The fact that his use of the most basic punch in boxing is such big news only reinforces my opinion that boxing is a dying if not dead art.

Why Boxing?

by Bobby Franklin

I have been around boxers all my life, and I’ve gotten to know hundreds of fighters and have spent quite a bit of time speaking with them, getting to know them, and making friendships with them. In the past couple of years as we have gotten older the conversations I have with them have become more reflective. One of my favorite topics is discussing what their motivation was for first stepping into a boxing gym. The answers vary, but I did seem to find a common theme among a number of them.

It is a violent world but also one of serenity.
Stillmans Gym New York
Stillmans Gym New York

Just about every other sport available to young men involves joining a team; Little League Baseball, Pop Warner Football, hockey, and so on. All, of these are good ways for youth to learn the lessons of working together, sharing responsibility, and being a part of something bigger than themselves. It also allows for the sharing in victories as well as failures. Sure, there are times when one player will get the glory for pulling out a victory for the team, or get the blame for blowing it (just ask Bill Buckner), but it still comes down to the team working together to make things happen. It is said over and over again that there is no “I” in team.

The emotions aroused, just as the sport itself, are primitive.

Boxing is very different, it is all about “I”. When a young man first walks into a boxing gym he knows he is not there to join a team. What he is going to have to do is confront himself. He is going to have to deal with his fears; his victories and his failures all on his own. If he losses a fight or even has a bad sparring session he will not be able to point the finger at a teammate. The thrill of victory and the agony of defeat are owned by the individual.

Alan Sillitoe wrote a book published in 1959 titled “The Loneliness of the Long Distance Runner”. I often think of how appropriate a similar title would be to describe a boxer; “The Loneliness of the Boxer”. When that bell rings and the lights go down and the boxer steps forward to face his opponent, there is no other sport that comes close to invoking the emotions that erupt within him. He moves forward with no team to look back on for help or support. He is in the ring with only two other people; his opponent who wants to knock him senseless and the referee who is on nobody’s side. This isn’t about moving the ball up the field or striking out a batter. This is comes down to the most basic of human instincts: survival.

A boxing gym is truly a paradoxical place.
5th Street Gym Miami
5th Street Gym Miami

Many of the guys I have talked to about their motives for taking up boxing told me they were shy kids who didn’t feel comfortable playing on a team. They felt insecure and wanted to face their fears. The boxing gym seemed like the best place to go for that. Just about every one of these former boxers have told me their lives were changed because of their experiences with boxing. That they learned more about themselves through the Manly Art of Self Defense than in any other activity they took part in.

A boxing gym is truly a paradoxical place. It is a venue where controlled violence is taught. the participants spend hours practicing moves and conditioning themselves so A may inflict head trauma on their opponents. It is a place where a young man will have to deal with his fear and his fight or flight response to it. Where he will inflict and feel pain.

But, the boxing gym is also oddly Zen like. Boxing forces a person to become self reflective, to look deep within himself, too confront his demons, and oddly enough, to find a certain inner peace. It is a violent world but also one of serenity. This may all sound a bit strange, but if you have been there you will know what I mean.