Book Review: “The Tragedy of the Hogue Twins”

 

TRAGIC TWINS

“[When the Hogue twins were 31 years old,] they were still young men, but life had taken its toll on them. Shorty was living in a variety of care facilities, and Big Boy, who spent several years in and out of Atascadero Mental Hospital,  appeared to have no discernible skills outside of the ring other than cheating at cards.” 

 The Tragedy of the Hogue Twins

By Harry Otty

256 pages

Read Corner Publishing 

Reviewed by Roger Zotti

 

One

 Willard Joseph “Big Boy” Hogue and Willis Burton “Shorty” Hogue  are their names, and boxing historian Harry Otty has written a meticulously researched, eminently readable, and informative book about them. Enhanced by many photos of the twins, family members, friends, and opponents, it’s titled The Tragedy of the Hogue Twins (REaD Corner). 

Harry’s intention is that readers take from his book the realization that  “boxing, for all its hype and glamour, is a brutal sport and some of those who fight to entertain the fans don’t make as much money as the Floyd Mayweathers of this world. Most fighters come away with little in the way of tangible rewards and some come out with a lot less than what they went in with— as was the case with Shorty and Big Boy Hogue.”

At first Otty, the author of the acclaimed Charley Burley and the Black Murderers’ Row, had no idea who the Hogues were, but after extensive research, he says, “I ended up in touch with family members, and then [learned more] about [the twins], and thought theirs was a tale worth telling. [The Hogues] are not well-known outside of the hardcore boxing fraternity, and I thought that was a shame. I think Shorty Hogue belongs in the West Coast Hall of Fame – he beat some great fighters and, perhaps if handled better, could have gone a great deal further than he did.”

Obtaining first-hand information from the Hogue family was challenging for Harry: “With the Charley Burley book I wanted people to know a little more about him outside of boxing, so I relied on friends and family for stories and insights . . . Getting the same insight on the twins’ lives as I got with Charley Burley was  difficult, as there were no siblings left to talk about them. There were a couple of nephews, a grandson and a daughter, but the daughter was not willing to communicate. The snippets of information I did get from the family often led to other avenues to explore. It was a slow process.”

Two

Hailing from Jacumba, California, “Big Boy” was a welterweight, Shorty a middleweight. They had outstanding amateur boxing careers and turned professional on March 3, 1939. In their debuts at the San Diego Coliseum, Shorty stopped Al Jimenez in the third round and Big Boy garnered a six-round decision over George Romero.

Big Boy’s first name opponent was veteran Bobby Pacho, who had fought Henry Armstrong, Eddie Booker, Turkey Thompson, Fred Apostoli, and Fritzie Zivic, among others. In their June 22, 1939, bout, Big Boy earned a ten-round decision. 

Shorty’s former sparring partner, a rising middleweight named Archie Moore—yes, the Archie Moore—was his first opponent of merit. They battled on December 29, 1939, at the San Francisco Coliseum. Moore’s 38-3-3 record didn’t faze Shorty, who won a six-round decision over the future light heavyweight champion.

Their rematch took place in 1941, at the San Diego Coliseum, before 4,000 fans. Harry brings the fight to life with his vivid description of the tenth and final round: “The tenth started with Archie staggering Shorty once more, but the determined twin came back yet again to swamp Moore with a constant cascade of leather. The aggression, determination and sheer volume of punches was enough for referee Benny Whitman to cast his vote in favor of Shorty.”

When the decision was announced, Harry writes, “The reaction would have been the same had the call gone the other way. Afterward promoter Benny Ford called the fight the greatest he had ever seen in a San Diego ring.” 

Their third bout took place in 1942, again at the San Diego Coliseum, and Archie had his revenge, stopping Shorty in two rounds.

Shorty, who fought from 1939 to 1943, compiled a 52-11-2 record. Big Boy battled from 1939 to 1943, was inactive from 1944 to 1951, and returned to the wars in 1952, retiring after two TKO losses. His record was  50-19-7.

During their boxing careers the twins didn’t duck anyone.  Big Boy fought the likes of Aaron Wade, Eddie Booker, Jack Chase, and Charley Burley, all members of the feared Black Murderers’ Row, while Shorty battled Booker (four times), Lloyd Marshall (two times), and Burley.  

How good was the Row? Many champions and contenders ducked them, including Sugar Ray Robinson, whom Burley said he’d fight for nothing,  the great Henry Armstrong, Freddie Cochrane, and Rocky Graziano. 

In his book Murderers’ Row, boxing historian Springs Toledo quoted what former middleweight champion Jake LaMotta said about the Row: “When those bombers got the chance against a white kid on the square, they sure tried their best to show what they could do, because they all had a dream that maybe they’d get enough of an audience clamoring for them so that someday some promoter would give them the chance they deserved and they’d get a shot at the real money.”

And how good were the Hogues? Harry quotes Archie Moore who praised them as “’two of the greatest prospects in my time. They had everything needed to be world champions. Well, maybe one thing was missing—patience.’” 

Three

Brace yourself for the book’s last chapters, which chronicle the twins’ horrific downward spiral. Shorty never recovered from his TKO loss, in early 1942, to the mighty Burley. He fought eight more times that year, winning only twice. His six losses were by KO. 

 After his last fight that year he joined the Navy, but his military career was short-lived. His behavior was unstable and “diagnosed by the Naval medical staff [as] ‘traumatic encephalopathy.’” . . . “Come April 9, 1943, Shorty Hogue . . . was now also ex-naval reserve . . . mentally unfit for military service, physically no longer able to continue in his chosen profession, and with no discernible skills, [he] was consigned to the scrap heap at 22.” Shorty  died in his sleep, at Sleepy Valley Rest Home, on November 29, 1971. He was 50 years old.

Big Boy didn’t fare any better. In his final fifteen outings, he was stopped ten times. After retiring in 1952, he lived a trouble-filled life. 

Jumping ahead to 1964 and Big Boy’s arrest: The police decided to hold [him] until he had ‘sobered up,’ Otty writes, “but he never did. Just before midnight, an officer went in to check on the prisoner. He found Big Boy hanging in his cell. He had used his own belt to end his life. He was only 43.  

“It appears that the symptoms of ‘punch drunk syndrome’”—dementia pugilistica—”[had affected] Big Boy as much as Shorty; the difference was that Shorty had received an official diagnosis,” Otty writes, adding that “[reporter Nelson Fisher] in one paragraph summed up [the Hogue twins’] lives and careers almost perfectly: ‘If their boxing careers were crowned by success and popularity, their lives after they put away the gloves were as contrastingly unfortunate, eventually tragic.’”

Four

Over the years many boxing writers and scholars have inspired Harry: “Like most boxing historians. I have read a great deal of books, essays, newspaper reports, and I would say I was most likely influenced by all of them in one way or another.” 

Boxing historians Kevin Smith and Jerry Fitch rank high as authors who persuaded Harry he “could/should do it” himself. Says Harry: “I read a good deal of Jerry’s essays in the 1980s and 90s and really liked his stuff on the Cleveland greats (Jimmy Bivins, Lloyd Marshall, Joey Maxim, etc.) and Kevin Smith’s work on the great black fighters opened my eyes to just how deep and wide the history of the sport was. Boxing historian and author John Ochs was a fantastic help once I had the book compiled and (almost) ready to publish.”

Harry commends “the many members of the IBRO who have written fantastic histories and biographies on some of the greats from our sport (and some of the not so well-known, too). I think that is what makes the organization so good – the breadth and depth of knowledge is amazing, and more people should join up!”

A contributing writer for the IBRO Journal, Roger Zotti has written two books on boxing, Friday Night World and The Proper Pugilist. He can be reached at rogerzotti [at] aol [dot] com. You’ll make him happy by emailing him and saying nice things about his writing.”

Review: 42nd Street At The Ogunquit Playhouse

A Broadway Lullaby That

Will Keep You Awake 

In Ogunquit

42nd Street

Through July 13

The Ogunquit Playhouse

Ogunquit, Maine

Directed and Choreographed by Randy Skinner

Reviewed by Bobby Franklin

Photo Credit: Gary Ng

At the height of the Great Depression Hollywood produced many feel good musicals that were a source of escape for people struggling through very difficult times. One of the most popular of these was the Busby Berkeley film 42nd Street that starred Dick Powell and Ruby Keeler, with music by Harry Warren and Al Dubin. In 1980 Gower Champion and David Merrick brought a stage version of it to Broadway. The play was a huge hit and has been revived repeatedly since then, most recently in London’s West End where it was directed by Mark Bramble with choreography by Randy Skinner.  

The latest revival has just opened at the Ogunquit Playhouse with original sets from the London production. Randy Skinner is directing and choreographing this production. Unfortunately, Mark Bramble passed away earlier this year. 

The backstage musical about aspiring hoofer Peggy Sawyer having to step in when leading lady Dorothy Brock breaks her ankle during rehearsals for the play Pretty Lady is the standard “the show must go on” theme that was popular in the 1930s. What is so special about this piece is it has many great, if corny, lines, some of the greatest songs ever written for a musical, and stunning dance numbers. 

This is one of the largest casts ever assembled on the Ogunquit Playhouse stage, and the sound of all those tapping feet is intoxicating.

It really is all about the dance, and who better to make that happen than Randy Skinner who worked on the original Broadway production in 1980. The dance numbers here are simply exquisite. This is one of the largest casts ever assembled on the Ogunquit Playhouse stage, and the sound of all those tapping feet is intoxicating. 

Jessica Wockenfuss as Peggy Sawyer, the starry eyed kid from Allentown, PA who’s golly gee demeanor belies her drive to make it in the city that never sleeps is outstanding. She puts it all together with her lovely singing voice, delivery, and amazing dancing feet. She is a Peggy Sawyer to remember. 

Steve Blanchard is Julian Marsh, the hard driving director who gives more pep talks than the manager of a baseball team playing in the World Series. He delivers his lines in rapid fire without missing a beat; “You’re going out there a youngster, but coming back a star”. His performance  of  Lullaby of Broadway is marvelous. You can just taste the theatre district of old New York as you listen to him sing the lyrics.

In Shadow Dance, Rachel York as the snooty and aging star Dorothy Brock, dances in front of a large curtain on which her shadow is double cast. Ms York and Ms Wockenfuss perform a lovely duet on the classic About a Quarter To Nine. It is one of those great Broadway tunes and gets a bit of a modern arrangement here. 

Tenor Billy Lawlor is played by Con O’Shea-Creal. He and Ms York perform another favorite in You’re Getting To Be A Habit With Me. Mr. Con-Creal gives a convincing  happy-go-lucky Lawlor filled with enthusiasm.

Sally Struthers is Maggie Jones and, as always, brings her wonderful comedic timing to the Playhouse stage. Along with Cliff Bemis as Abner Dillon, Dorthy Brock’s sugar daddy, and Ryan K. Bailer as her not so secret paramour, there is a stage full of talent performing here.

While the story is fun and fast moving, if predictable, 42nd Street is all about the singing and dancing. The numbers are spectacular. We’re In The Money is performed with giant dimes being rolled on stage (They are Mercury heads in keeping with the time frame). Shuffle Off To Buffalo with Kilty Reidy as Bert and Megan McLaughlin as Lorraine, a couple heading off on their honeymoon, is sweet and fun. 

Photo Credit: Gary Ng

The best is saved for last when the stage is filled with dancers on rows of lit stairs tapping away to the title song. Signs with the names of theaters, shows, and performers hang above them while they sing and dance. It is an outstanding number that brought the audience to their feet. It has been said there is a broken heart for every light on Broadway, but these lights bring happiness. 

Last month I got to experience the new lighting that was installed at the Playhouse when I saw Jersey Boys. It is an investment that is paying great dividends. Of course, it takes more than lighting to make for great theatre, and those ingredients are in abundance at the Ogunquit Playhouse. Artistic Director Brad Kenney proves over and over again he knows how to choose great plays, find the best talent, and bring in the finest creative teams available. It is all on display in 42nd Street. 

If you love a fast paced, toe tapping, Broadway musical filled with some of the best songs ever written, you will find it playing now in Ogunquit, Maine. I loved it and can’t imagine anyone wouldn’t.

For information:

ogunquitplayhouse.org 

207.646.5511

Ogunquit Playhouse Reaches Major Milestone – Jersey Boys is the First Show in its 87 Year History to Celebrate 100 Performances on the Legendary Stage!

For the first time in Ogunquit Playhouse history a show hit the 100 performance milestone! Congratulations to Jonathan Mousset (Frankie Valli), Matt Magnusson (Tommy DeVito), Andy Christopher (Bob Gaudio), and Matthew Amira (Nick Massi) and the entire Ogunquit cast, creative team, and crew for reaching this exciting moment! Jersey Boys opened in the fall of 2018, and ran for an unprecedented 8 weeks to close the season (for decades the Playhouse season was only 10 weeks long!) –Jersey Boys returned to open the 2019 season for another 5 weeks!  Over the last decade the legendary theatre has grown from a traditional summer stock theatre to a true regional theatre that operates over twenty-six weeks each year. 

 

Review: “Mame” At The Reagle Music Theatre Of Greater Boston

Mame At The Reagle Music Theatre Of Greater Boston

Is A Satisfying Banquet

Don’t Miss Out

 

Reviewed By Bobby Franklin

Through June 23 At The Reagle Music Theatre Of Greater Boston

617 Lexington Street

Waltham, MA

781.891.5600

www.reaglemusictheatre.org 

Reviewed by Bobby Franklin

Ensemble With Leigh Barrett
Photo: Reagle Music Theatre/Herb Philpott

One of my favorite lines from Mame is “Life is a banquet and most poor sons of bitches are starving”. The production of Mame now playing at the Reagle Music Theatre of Greater Boston in Waltham is a delicious feast of this classic Broadway musical. It will nourish your theatrical soul.

Led by uber talented Leigh Barrett as Patrick Dennis’s Auntie Mame, the entire cast is solid and tight. Ms Barrett who thrilled audiences in last year’s Lyric Stage production of Gypsy has met, or I would argue, even exceeded that performance here. Leigh Barrett delivers what is best described in the words of the great theatre critic Kenneth Tynan, “a high definition performance”. She is stage presence personified. 

This is the story of the “live life to the fullest” Mame who has taken on the care of her nephew Patrick Dennis. Mame faces many obstacles in watching over young Patrick, including threats to have him taken away from her for her unconventional lifestyle, as well as financial ruin (the play is set in the 1920s and 30s when the stock market crash destroyed many people’s finances), but you can’t keep her down.

While Ms Barrett’s performance is something to behold, she is not on the Reagle’s stage by herself. In fact, she is accompanied by 38 other highly talented actors who light up the theatre along with a full orchestra, a rarity today and such a pleasure, led by Dan Rodriguez. Upon entering the theatre I could hear the musicians tuning up. This lends an air of anticipation and excitement to the evening. 

Ben Choi-Harris and Leigh Barrett
Photo: Reagle Music Theatre/Herb Philpott

Regarding the other performers; well, there are too many to mention by name and any omissions are in no way a slight against any of them. Eleven year old Ben Choi-Harris who pays young Patrick Dennis is a rising star who more than held his own playing opposite Leigh Barrett in the first act. I had to check to make sure this wasn’t a fifty year old veteran actor heavily disguised to look like a boy, as Ben looks as if he has been on the stage for years. The duet between Mame and young Patrick on My Best Girl is just beautiful. Their warmth and love are fully conveyed to the audience. Mame’s nephew also makes a fine martini.

Katie O’Reilly takes on the role of the homely and lovable Agnes Gooch, who learns to open up and let go; well, a bit too much. In Gooch’s Song, Ms O’Reilly shows incredible comedic timing while keeping her character real and sympathetic. 

Mark Linehan, seen last year at the Reagle as Professor Harold Hill in The Music Man, plays Beau, the Southern Gentleman who falls for Mame and takes her hand in marriage bringing her love and wealth. He also ends up taking another fall, literally, while traveling with his new bride. Mr. Linehan has appeared on the Reagle’s stage eight times and once you see him you will understand why they keep bringing him back.

Mame’s house servant Ito is played by Simon Rogers. Mr. Rogers brings a depth to this loyal character while not sinking into caricature. The laughs are never at him, but with him. He, along with Vera, Mame, Patrick, and Miss Gooch are all family.

Maureen Keiller and Ensemble
Photo: Reagle Music Theatre/Herb Philpott

Speaking of Vera Charles, this has to be a dream role for many actors, and Maureen Keiller is having her dream come true. Ms Keiller is hysterical as the “world’s greatest lush” and dear but difficult friend of Mame’s. In fact, they are Bosom Buddies which they sing together in one of the many well known songs from the play. Ms Keiller also gives a hilarious performance on the number The Man In The Moon Is Lady. 

At the beginning of Act II the role of young Patrick transitions to the older Patrick played by Will Burke. The reprise of the song My Best Girl is begun by young Patrick and moves smoothly to older Patrick. It’s a touching moment.

Mame is directed and choreographed by Eileen Grace and the stage is filled with music and dance. The large cast is always in synch, and if you love dancing you will not be disappointed. It is a treat to see and hear them work the boards.

If He Walked Into My Life Today is one of the better known songs from Mame, but it is often not heard in context and is usually thought of as a romantic song about lost love. Seeing it sung here by Ms Barrett you fully grasp the feelings of doubt and regret Mame has over whether or not she has made the right choices in how she raised Patrick. Every parent feels this way at one time or another. 

Maureen Keiller and Leigh Photo: BarrettReagle Music Theatre/Herb Philpott

The title song, which closes the first act, is a lavish musical number that fully allows the audience to see what a classic Broadway Musical looks like. The stage is filled with dancers and singers all moving about effortlessly while performing their hearts out. As I was exiting the theatre I could hear people singing and humming the tunes. That’s a nice feeling.

Artistic Director Robert J. Eagle founded the Reagle Musical Theatre of Greater Boston fifty-one years ago and it is a gift to have his creation still going strong after all that time. I suspect it easily has another fifty ahead of it. If you haven’t yet been there, well, what are you waiting for? If you have, I’m sure you won’t want to miss the current production. Mame is playing through June 23 and the theater is easy to find and has plenty of parking. 

As the Mame household reminds us, there are times We Need A Little Christmas, and I couldn’t think of a better Christmas present with which to begin your summer.

“Fun Home” Is Back At The SpeakEasy Stage

FUN HOME RETURNS 

SpeakEasy Stage Remounts Its Acclaimed Production of

 the Tony Award-Winning Musical 

Due to popular demand, SpeakEasy Stage will proudly remount its acclaimed production of the Tony Award-winning musical FUN HOME for four weeks, June 8-30, 2019. 

     Featuring music by Tony Award-winner Jeanine Tesori and a book and lyrics by Tony Award-winner Lisa Kron, FUN HOME is a landmark musical about seeing one’s parents through grown-up eyes. Based on Ms. Bechdel’s best-selling memoir of the same name, this groundbreaking show introduces us to Alison at three different ages, revealing memories that celebrate the curiosity of childhood, the challenges of coming out, and the complexities of family.

     SpeakEasy Founder and Producing Artistic Director Paul Daigneault is again at the helm of this acclaimed production. Winner of three Elliot Norton Awards including the 2014 Norton Prize for Sustained Excellence, Mr. Daigneault had directed dozens of Boston premieres, including the company’s recent productions of The View UpStairs, The Scottsboro Boys, The Curious Incident of the Dog in the Night-Time, and Allegiance. 

     Also returning to help with the remount are IRNE Award-winning Music Director Matthew Stern and Choreographer Sarah Crane.   Paul S. Katz joins to conduct the band for these added weeks.  

     Amy Jo Jackson (Alison), Ellie van Amerongen (Medium Alison) and Marissa Simeqi (Small Alison) again play Ms. Bechdel at three different ages.  Also returning are Laura Marie Duncan, Luke Gold, Desiré Graham, Cameron Levesque, and Todd Yard.  Christopher M. Ramirez joins the cast as Roy.  

     The design team for both the original production and remount are Cristina Todesco (scenic); Charles Schoonmaker (costumes); Karen Perlow (lighting); Andrew Duncan Will (sound); and Jennifer Butler (props).     

     Rachel Sturm is the Production Stage Manager. John Meredith is the Assistant Stage Manager.  

     FUN HOME will return for four weeks, from June 8-30, 2019, in the Roberts Studio Theatre in the Calderwood Pavilion at the Boston Center for the Arts, 527 Tremont Street in Boston’s South End.

  For tickets or more information, the public is invited to call the box office at 617.933.8600 or visit www.SpeakEasyStage.com .                 

“42nd Street” To Run At The Ogunquit Playhouse From June 19 through July 13

Tap Dancing Extravaganza, 42nd Street to Open at the Ogunquit Playhouse

Come and meet those dancing feet! The ultimate tap-dancing, show-biz musical sensation, 42nd Street celebrates Broadway, Times Square, and the people who make magical musical theatre hits the Ogunquit Playhouse stage June 19 through July 13. The Ogunquit production is staged by Tony Award-nominee Randy Skinner, the creator of the Broadway revival and recent West End production of 42nd Street. The tap-dancing extravaganza stars Broadway’s Rachel York as Dorothy Brock, Steve Blanchardas Julian Marsh, Jessica Wockenfussas Peggy Sawyer, Con O’Shea-Crealas Billy Lawlor, and features Emmy-Award-Winner Sally Struthers as Maggie Jones. The Ogunquit production of 42nd Street also features the Lawrence Olivier-nominated and Tony-nominated costumes by Roger Kirkalong with Douglas Schmidt’sTony-nominated sets.

Rachel York

The delightful and dazzling show tells the story of aspiring chorus girl Peggy Sawyer who leaves her small town for the big city and soon lands her first job in the ensemble of a glitzy new Broadway show. Mayhem and mirth ensue when just before opening night the leading lady breaks her ankle. Will Peggy be able to step in and become a star? The musical 42nd Street isbased on the novel by Bradford Ropes withbook byMichael Stewart and Mark Bramble. The score by Harry Warren(music) and Al Dubin (lyrics), is chock-full of Broadway standards, including “You’re Getting to Be a Habit with Me,” “Dames,” “We’re In the Money,” “Lullaby of Broadway,” “Shuffle off to Buffalo” and “Forty-Second Street.”

Rachel York returns to the Ogunquit Playhouse as Dorothy Brock, the quintessential Broadway diva. Ms. York last dazzled Playhouse audiences as the Lady of the Lake in Monty Python’s Spamalot. She was most recently seen on Broadway in the musical Head Over Heels, and is best known for her critically acclaimed Broadway performances in City of Angels, Les Misérables, Victor/Victoria (Drama Desk Award) with Dame Julie Andrews, and for her portrayal of Lucille Ball in the CBS TV movie, Lucy. Ms. York has stunned audiences of the stage, screen, and concert halls across the country through her numerous National Tours, regional theatre appearances, concert performances, and TV guest-starring roles.

Sally Struthers

Two-time Emmy Award and Golden Globe Award winner Sally Struthers joins the cast as Maggie Jones. Ms. Struthers is best known for her role as Gloria in the groundbreaking TV series, All in the Family as well as reprising that role in the series spin-off, Gloria. She also appeared on Fox television series 9 to 5, and in recurring roles on the CBS’s Still Standing and the CW network’s Gilmore Girls. Sally Struthers has performed many roles at Ogunquit Playhouse including Punky Olander in Grumpy Old Men the Musical, Evangeline Harcourtin Anything Goes, Duchess Estonia Dalworth in Nice Work If You Can Get It, Mama Morton in Chicago, and Paulette in Legally Blonde.

Broadway veteran, Steve Blanchardstars as the notorious Broadway director Julian Marsh. He is probably best known for his portrayal of Beast in Disney’s Beauty and the Beast in both the Broadway production and First National Tour. Other credits includeFred in A Christmas Carol, Lancelot in Camelot with Robert Goulet, Pulitzer in Disney’s Newsies, and Pa in Little House on the Prairie. Joining the cast as the starry-eyed chorus girl, Peggy Sawyer is Jessica Wockenfuss who also performed the role in the North Shore Music Theatre’s 2017 production. Off-Broadway, she has been seen in Hey, Look Me Over!, and Me and My Gal. Her National Tour credits include Jersey Boys, Irving Berlin’s White Christmas, The Little Mermaid, and Monty Python’s Spamalot. ConO’Shea-Creal will make his Ogunquit Playhouse debut as Billy Lawlor. His Broadway credits include Irving Berlin’s White Christmas and Side Show, and he has performed in many National Tours including Cameron Mackintosh’s Mary Poppins as Bert, Irving Berlin’s White Christmas with Randy Skinner, and Something Rotten.

The Ogunquit Playhouse production of 42nd Street includes one of the largest casts to ever hit the theatre’s stage. It featuresRyan K. Bailer as Pat Denning, Cliff Bemis as Abner Dillon, Megan McLaughlin as Annie, Kilty Reidy as Bert Barry, and JakeWeinsteinas Andy Lee. The ensemble includes Danielle Aliotta, Emily Applebaum, Willie Beaton II, Allison Blanchard, Quinten Patrick Busey, Brittany Cattaruzza, Alex Drost, Liz Friedmann, Patrick Heffernan, Alex John Johnson, Tommy Joscelyn, Trent Kidd, Ryan Koerber, Brianna Latrash, Lily Lewis, Elizabeth McGuire, Andrew Muylle, Melissa Schott, andKristen Welsh.

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

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“Oklahoma!” Opens At North Shore Music Theatre June 4

NORTH SHORE MUSIC THEATRE

KICKS OFF THE 2019 MUSICAL SEASON WITH

RODGERS AND HAMMERSTEIN’S

‘OKLAHOMA!’

THE GREAT AMERICAN MUSICAL

June 4 – June 16, 2019

 

Blake Price

Bill Hanney’s award-winning North Shore Music Theatre kicks off the 64th Annual Season with Rodgers and Hammerstein’s OKLAHOMA!, one of the greatest classic musicals of all time, playing for two-weeks only from Tuesday, June 4 thru Sunday, June 16, 2019. OKLAHOMA! is sponsored by Beverly Bank.

 

“The 2019 Season marks the tenth season since reopening this historic theatre in 2010. I am still just as excited about creating this season as I was for season one.” said Bill Hanney, NSMT owner and producer. “When planning the 2019 Season, I was surprised to discover that Oklahoma! had not been seen on the North Shore Music Theatre stage in more than twenty-five years. Seventy-five years ago, Rodgers and Hammerstein reinvented musical theatre with Oklahoma!, a musical that is a celebration of both the pioneering spirit of settlers building new lives on the frontier and the patriotism surrounding the territory’s impending statehood. It feels like the perfect time to create an all new production of this classic for our signature in-the-round stage.”

 

When Rodgers and Hammerstein’s masterpiece OKLAHOMA! made its Broadway debut in 1943, it launched a new era in American musical theater — fusing story, song and dance through the stunning choreography of Agnes de Mille. It also began one of the most successful songwriting partnerships in Broadway history. At its heart, Rodgers and Hammerstein’s OKLAHOMA! is a love story between confident cowboy Curly and feisty farmer Laurey. As the road to romance and the road to statehood converge, Curly and Laurey are poised to carve out a life together in a brand-new state. But the road to love is as bumpy and fraught with all the dangers and excitement of the time. The unforgettable score includes: “Oh, What a Beautiful Mornin’,” “People Will Say We’re in Love,” “I Cain’t Say No!” and the exhilarating title song, “Oklahoma!

 

The cast of OKLAHOMA! will be led by Blake Price (Curly McLaine), and Madison Claire Parks (Laurey Williams), along with Sean Bell (Will Parker), Melissa Carlile-Price (Ado Annie Carnes), Sue Cella (Aunt Eller Murphy), Tom Gleadow (Andrew Carnes), Cooper Grodin (Ali Hakim), and Alex Levin (Jud Fry).

 The cast of 24 will also include Bella Calafiura, Mary Callanan, Stephen Diaz, Dale Elston, Marjorie Failoni, Katie Griffith, Ricky Lee Loftus, Trevor McChristian, Kevin B. McGlynn, Alaina Mills, Rachel Perlman, Michael Pesko, Laura Sky, Cameron Turner, Scott Whipple, and Jessica White.

Performances are June 4 thru June 16, Tue – Thurs at 7:30 pm, Fri & Sat at 8 pm, matinees Wed, Sat and Sun at 2 pm. For tickets and information call (978) 232-7200, visit nsmt.org, or visit the box office at 62 Dunham Rd., Beverly, MA.

 

 

The View Upstairs Opens At Speakeasy Stage Company

                                              

Speakeasy Stage Company Presents 

THE VIEW UPSTAIRS

 From May 31 through June 22, 2019, SpeakEasy Stage Company will proudly present the New England Premiere production of the acclaimed Off-Broadway musical THE VIEW UPSTAIRS.  

     THE VIEW UPSTAIRS was inspired by a historical event, the firebombing of the UpStairs Lounge in New Orleans in 1973, which, up until the Pulse Nightclub shooting in 2016, was the deadliest assault on a gay bar in US history. THE VIEW UPSTAIRS tells the story of Wes, a young fashion designer who buys an abandoned building in the French Quarter of New Orleans.   One night, while exploring his new purchase, Wes is transported to the UpStairs Lounge, a vibrant seventies gay bar, where he begins an exhilarating journey of self exploration that spans two generations of gay history.  Featuring a gritty, glam rock score and a tight-knit ensemble of unforgettable characters, THE VIEW UPSTAIRS asks what has been gained and lost in the fight for equality, and how the past can inform the future.  

     Described by The New Yorker as “equal parts Bohemia and Broadway,” Max Vernon has emerged as a singular and eccentric voice in the world of musical theatre. He received the Lucille Lortel Award for Best Musical, three Drama-Desk Nominations, a Jonathan Larson Grant, and the Richard Rodgers Award for his musicals The View UpStairs and KPOP, both of which had critically-acclaimed extended Off-Broadway runs. Notable concert performances include the Kennedy Center, Lincoln Center, Joe’s Pub, and The Metropolitan Museum of Art.

     SpeakEasy Founder and Producing Artistic Director Paul Daigneault will direct the Boston Premiere of THE VIEW UPSTAIRS. Winner of three Elliot Norton Awards including the 2014 Norton Prize for Sustained Excellence, Mr. Daigneault had directed dozens of Boston premieres, including the company’s recent productions of The Scottsboro Boys, The Curious Incident of the Dog in the Night-Time, Allegiance, and Fun Home. 

      Adam Bokunewicz will music direct and Alessandra Valea will choreograph.

      Johanna Carlisle-Zepeda, Russell Garrett, J’royce Jata, Michael Levesque, Will McGarrahan, Davron Monroe, Yewande Odetoyinbo, Eddie Shields, Jared Troilo, and Shawn Verrier make up the cast. 

     The design team is Abby Shenker (scenic); Dustin Todd Rennells (costumes); Abigail Wang (lighting); and Elektra Newman (sound).   Lauren Burke is the Production Stage Manager.  

THE VIEW UPSTAIRS will run for four weeks, from May 31 through June 22, 2019, in the Plaza Theatre at the Boston Center for the Arts, 537 Tremont Street in Boston’s South End.

For tickets or more information, the public is invited to call the box office at 617.933.8600 or visit www.SpeakEasyStage.com .            

 

 

Reagle Music Theatre Announces 2019 Season

Reagle Music Theatre of Greater Boston Announces 51st Summer Season

Of Classic Musical Theatre:

 Mame, The Sound of Music, and La Cage Aux Folles

Norton Award Winner Leigh Barrett To Open the Season as “Auntie Mame” June 13-23rd

 

Reagle Music Theatre of Greater Boston’s 51st consecutive summer season will take audiences on a fabulous journey around the world and across the 20th Century with three classic musicals:

Mame, from June 13-23, will star IRNE and Norton Award winner Leigh Barrett as “Auntie Mame,” an irrepressible 1920’s socialite whose New York life is changed forever when her orphaned nephew comes to live with her. The Sound of Music, from July 11-21, relates the beloved tale of a young postulate in pre-WWII Austria who is sent to work as a governess and brings joy and music into the family’s home. Finally, the musical comedy La Cage Aux Folles, August 8-18, will travel to the 1980’s French Riviera for the hilarious tale of love and family set above a glitzy drag nightclub.

 

Mame

Directed and Choreographed by Eileen Grace

Music Director Dan Rodriguez

Produced by Robert J. Eagle

June 13-23, 2019, 8 performances including 4 matinees

Mame’s chic New York City life is changed when her orphaned nephew comes to live with her. Surrounded by a cast of eccentric characters, she celebrates the roaring 20s, overcomes tragedy, and sails through life without missing a fad or a dance step. Featuring Jerry Herman songs like “If He Walked Into My Life,” “It’s Today,” “We Need A Little Christmas,” and “Bosom Buddies,” this beloved musical is sure to warm any heart.  Book by Jerome Lawrence and Robert E. Lee.  Music and Lyrics by Jerry Herman.

 

·     The Sound of Music

Directed and Choreographed by Daniel Forest Sullivan

Music Director Dan Rodriguez

Produced by Robert J. Eagle

July 11-21, 2019, 8 performances including 4 matinees

In 1930s Austria, Maria is struggling in her attempt to become a nun. When she is sent to look after the children of a stern, widowed Navy captain, she brings joy and music back into the family’s home. This beloved, Tony and Oscar-winning musical features Rodgers & Hammerstein songs like “My Favorite Things,” “Climb Ev’ry Mountain,” “Edelweiss,” and “Do-Re-Mi.  Music by Richard Rodgers. Lyrics by Oscar Hammerstein II. Book by Howard Lindsay and Russel Crouse. Suggested by The Trapp Family Singers by Maria Augusta Trapp. Presented through special arrangement with R&H Theatricals.

La Cage Aux Folles

Directed and Choreographed by Susan M. Chebookjian

Music Director Dan Rodriguez

Produced by Robert J. Eagle

August 3-13, 2019, 8 performances including 4 matinees

Georges and Albin enjoy a charmed life on the French Riviera as proprietor and star of a glitzy drag club. When their son gets engaged to the daughter of a bigoted politician, the limits of love, family, and mascara are put to the test in this hilarious, heartwarming musical.  This new production of the groundbreaking musical comedy features a score by Tony and Grammy winner Jerry Herman (including songs like “I Am What I Am,” “The Best of Times,” and “Song on the Sand”) and a book by four-time Tony Award winner Harvey Fierstein. Music and Lyrics by Jerry Herman. Book by Harvey Fierstein. Based the play “La Cage Aux Folles” by Jean Poiret. Presented through special arrangement with Samuel French, Inc.

All family-friendly shows will run for 8 performances over 2 weekends; Fri & Sat at 7:00 pm, Thurs & Sun matinees at 2:00 pm. Tickets for Reagle’s 51st summer season can be purchased at www.reaglemusictheatre.org, by calling the box office at 781-891-5600, or at the theater box office.

 

 

Review: “Jersey Boys” Ogunquit Playhouse

Jersey Boys

Stays Just A Little Bit Longer

At The Ogunquit Playhouse

Even Better The Second Time Around

Jersey Boys

Though June 15

The Ogunquit Playhouse

Ogunquit, Maine

207.646.5511

ogunquitplayhouse.org

Reviewed by Bobby Franklin

Photo Credit: Paul Charest

The Ogunquit Playhouse closed out their 2018 season with the hit jukebox musical Jersey Boys, which played to sold out audiences for eight weeks. Building off of that success, OPH Artistic Director Brad Kenney chose to hang on to what they got and begin the 87th season where they left off.

I very much enjoyed  Jersey Boys last August and gave it high praise. Settling in for this year’s return engagement, I planned on reliving that experience and looked forward to another great evening with the music and story of Frankie Valli and The Four Seasons. Well, it turns out I was in  for a surprise. The great production I saw last year has been ramped up and matured. A new lighting system, some tweaking of the script, and the actors reprising their roles with more depth has taken the 2019 version of Jersey Boys to another level. 

Photo Credit:Morgan Gavaletz LaMontagne

Matthew Amira, Andy Christopher, Matt Magnusson, and Jonathan Mousset playing Nick Massi, Bob Gaudio, Tommy DeVito, and Frankie Valli respectively dig down deeper into their characters. The story of the four boys from New Jersey who went on to record mega hits amid much drama in their relationship served as a solid narrative to support the great musical score. That narrative has now become a more integral part of the production as the personal aspects of their lives are brought out more powerfully. The result is a Jersey Boys that is nothing short of spectacular.

This enhancement of the story does not take away from the power of the musical numbers; in fact, it adds to them by stirring the emotions while leading into each song. Mr. Mousset’s amazing take on My Eyes Adored You coming off the scene where we see Frankie Valli’s marriage breaking up really tugs at the heart. 

Photo Credit: Morgan Gavaletz LaMontagne

While standing ovations are not unusual, especially at the Ogunquit Playhouse, it is rare to see audiences jump to their feet during a performance. Both Sherry and Walk Like A Man had the crowd out of their seats cheering the performers on. I could see just how much this touched the members of the cast. One of the wonderful things about attending live theatre is getting to experience that symbiotic energy occurs  between actors and the audience. In this case it was electrifying for both.

The boys went through a number of names for the group before settling on The Four Seasons and later, after a couple of them left, it became known as Frankie Valli and The Four Seasons. In Jersey Boys, each of the  four originals is given the recognition they deserve. 

Matt Magnusson plays Tommy DeVito, the bad boy who got the group going. A part time crook who had done time, he had that combination of daring and recklessness that it often takes to succeed in such a tough business. Mr. Magnusson captures his character with a Jersey accent and a mischievous twinkle in his eye. DeVito can drive you crazy but you can’t help but like him. He also serves as narrator for the first part of the play. 

Photo Credit: Paul Charest

In contrast to DeVito is Bob Gaudio who was introduced to the group by Joe Pesci (Tommy Martinez), yes, that Joe Pesci. Andy Christopher takes on the role of the man who not only wrote the songs that put the group on the map, but also was able to use his keen head for business and making deals to get them heard. Mr. Christopher plays the part of Gaudio with the perfect balance of calmness and drive that helped make the group so well known. 

Bass player Nick Massi describes himself as the Ringo of the quartet. Played by Matthew Amira, Massi is not left out. Mr. Amira gives a strong performance that is filled with humor and frustration. His description of rooming with Tommy DeVito is a riot. 

And that brings us to Jonathan Mousset who is reprising the role of Frankie Valli from last year. As I said earlier, there is a deeper layer of emotion in the 2019 Jersey Boys, and Mr. Mousset really plumbs the part and gives us a Valli torn between driving for success and living up to his “Old School Values”. Along with his amazing falsetto voice, he shows fine acting chops and brought more than a few tears to the eyes of those in the audience on the evening I attended. 

The entire cast is great, including Doug Storm who plays a number of roles including lyricist Bob Crewe. Storm comes close to stealing a few of the scenes with some well timed glances and asides. You might want to consult him about your horoscope. While Neal Benari as the gangster Gyp DeCarlo is the local Godfather type who helps the boys out of a few jams. The scene where he is brought to tears when he hears Frankie sing My Mother’s Eyes, is one of those touching comedic moments.

The new lighting system that has been installed at the playhouse is incredible. In the hands of lighting designer Richard Latta the effects are amazing. The use of spotlights and shadows is breathtaking. The scene recreating the evening the boys debuted on the Ed Sullivan Show is striking. Add in Choreography by Gerry McIntyre, Scenic Design by Adam Koch, and the work of Costume Designer Tristan Raines and this rivals anything you will see on Broadway. I also want to note that Ogunquit Playhouse productions are not touring companies, but are built from the ground up. 

Director Holly-Anne Palmer has been with Jersey Boys from its inception and she clearly has lost none of her enthusiasm for it. She has upped her game with this run. 

The music is still front and center with all of the hits plus more being performed powerfully, and the unique sound of the Four Seasons is captured perfectly. Dawn, Big Girls Don’t Cry, Let’s Hang On, Stay, December ’63, along with some  early 60s standards such as Short Shorts and Earth Angel. Caroline Iliff led Hillary Porter and Bailey Purvis in a smashing rendition of  My Boyfriend’s Back complete with big hair and bobby sox. Music to feed the nostalgic soul.

Jonathan Mousset’s rendition of Can’t Take My Eyes Off Of You is a classic show stopper. Seeing it performed after hearing the story of how it almost never got released is amazing. Hey, the entire show is amazing.

The 2019 Season at the Ogunquit Playhouse is off to a tremendous start. Tickets for last year’s performances of Jersey Boys sold fast. I would recommend you book your seats soon so you don’t miss out this year. If you’ve never seen Jersey Boys, don’t let this opportunity pass you by. If you have seen it, come back and be as surprised as I was at how a very good play can get even better . Oh! What a night it is!