Carl Hsu, Micheline Wu, and cast Photo by Mark S. Howard
Pacific Overtures deals with the opening of Japan to the West and Commodore Perry’s excursion there in 1853. The Japanese had isolated themselves from the rest of the world many years earlier. They had decreed that no foreigners would ever again be allowed to step on their soil. They saw outsiders as barbarians and savages, as people who would destroy their culture and exploit their products. It has a familiar ring to it: Gunboat Diplomacy, isolationism, xenophobia, expansionism, and a fear of change are subjects touched upon.
It was first produced in 1976 at a time when the Vietnam War was very fresh in people’s memories, so it would have been natural for people to have focused on American forays into other nations at that time. Given the state of the nation today, where trade wars and isolationism are popular, and a fear of those who are different is in ascendence on both the Left and the Right of the political spectrum, it is very possible audiences will see another message in this very fine work.
Alexander Holden, Karina Wen, Kai Chao, with Gary Ng. Photo by Mark S. Howard
I last saw Pacific Overtures in 2003 in a lavish production that was incredible. From my count, the original consisted of a cast of 36. The Lyric is working with just 11, with actors taking on multiple roles. Of course, the theatre in Copley Square is also quite small, and the orchestra is much reduced. So how does taking such a huge production and reducing it in size work out? In a word, magnificently.
Director Spiro Veloudos, working with Musical Director Jonathan Goldberg and four additional orchestra members take Sondheim’s score and work wonders with it. The music which plays off many Japanese styles includes Haiku, as well as nods to Gilbert and Sullivan, and a multinational flavor that, while showing how different nations can be, also captures the fact that all countries benefit when they cooperate with one another. Unfortunately, historically this cooperation has not always gone smoothly, and that is also brought out clearly here.
The set is simple yet gorgeous. Designed by Janie E. Howland, it has a backdrop made up of four Japanese screen panels with Hiroshige style illustrations on them. They are rotated very subtly during the play depicting different scenes as the story moves along . The floor gives the appearance of tatami mats, an item that will serve an important purpose in the negotiations between the Americans and the Japanese. Branches from a cherry blossom tree hang from above. I have read that Someone In A Tree is Stephen Sondheim’s favorite song from his own work, and seeing it performed by Brandon Milardo and Karina Wen under the branches is just lovely.
Lisa Yuen with Brandon Milardo, Jeff Song, Elaine Hom, Gary Ng . Photo by Mark S. Howard
The cast is led by Lisa Yuen as the Reciter and Shogun. From the opening number The Adventures of Floating in the Middle of the Sea, Ms Yuen keeps the narrative flowing without forcing it. Her voice is clear and warm.
Carl Hsu and Sam Hamashima play Kayama and Manjiro. Kayama is a low ranking Samurai who ends up as the leading negotiator with the Americans, a job he was not exactly thrilled to be appointed to. Manjiro is a fisherman who had lived in the United States after being rescued by American sailors. He has returned to Japan to warn his leaders of the approaching Americans. He is not received well. Kayama and Manjiro form a bond when they find they can help each other through their problems.
Carl Hsu and Sam Hamashima. Photo by Mark S. Howard
In Poems the two exchange multiple haiku. It is fast paced and through it we see their friendship grow. I loved how Hsu and Hamashima moved about the stage while performing this number. Choreographer Micheline Wu deserves much credit for the fine work she has done.
The entire cast, playing multiple roles, did not disappoint. Gary Thomas Ngplays the Madam leading her Geisha Girls in Welcome to Kanagawa. With twirling umbrellas and flirtatious glances the number was fun and beautiful.
In Please Hello, representatives from the United States, France, Holland, Great Britain, and Russia all besiege Lord Abe (Jeff Song) with trade agreements. The play on Gilbert and Sullivan’s Modern Major General is delightful along with some French Can-Can, Dutch clog shoe dancing, and the frequent admonition from the Russian representative to “Don’t touch the coat!)
Jeff Song, Gary Ng, Brandon Milardo, Kai Chao, Micheline Wu, Alexander Holden. Photo by Mark S. Howard
Spiro Veloudos has chosen to have the actors wear masks when playing non Japanese parts. The masks are somewhat grotesque and reminiscent of the caricatures of foreigners that have been used over the years in many countries. These caricaturization represent how the Japanese saw outsiders. It is also interesting that many of the American parts were spoken with Southern accents. It is funny, but I notice that many directors in this area do that when trying to show Americans in a negative light. I wonder if directors in the South have their actors use Boston accents to get the same effect..
Pacific Overtures may very well have Sondheim’s best score. It is certainly the one that will continue playing in your head when you leave the theater. I loved every song and will be listening to the sound track often.
Karina Wen, Brandon Milardo, Lisa Yuen Photo: Mark S. Howard
One of the beautiful things about theater is it can be fun at the same time it is dealing with serious and difficult subjects. We live in very polarizing times and have for many years. Too often when trying to make a point, a playwright can leave the audience feeling further divided. I found much in Pacific Overtures to give us reason to strive to understand each other and find ways to exchange the best we all have to offer. Tearing down walls and barriers to the free exchange of ideas and goods is a positive thing, though it is difficult to accomplish. I think of the words of Frederic Bastiat “If goods aren’t allowed to cross borders, armies will.”
This is the final production of the Lyric’s 2018-2019 season, and they are finishing on a high note (pun intended). Pacific Overtures should top your list of plays to see. You are making a huge mistake if you miss this one. Spiro Veloudos works magic when he brings these large productions down in size for the intimate confines of the Lyric Stage Theater. After attending a number of these scaled down versions, I could argue this is a better way to see them. Well, it certainly is when produced by the Lyric Stage.
Cleveland Williams Never Should Have Been Allowed To Face Ali
By Bobby Franklin
Williams and Ali
In the opening sequence of the movie Requiem For A Heavyweight, a young Cassius Clay is seen throwing a punches during a fight. The view of the action is seen through the eyes of his opponent Mountain Rivera, played by Anthony Quinn, a washed up former contender who is now being used as an opponent and as a way for his unscrupulous manager Maish Rennick, played by Jackie Gleason, to keep squeezing a few more dollars out of him. It is a tragic story about a fighter on the way out being milked by the creeps that infest the world of boxing. The movie is fiction, but the real life world of boxing is not much different from what is depicted in it.
The story of Cleveland Williams and his fight against Muhammad Ali fits the ugly narrative of Requiem For A Heavyweight pretty closely. In fact, what was done to Williams was much worse than what was done to the fictional Rivera. First, some background.
When asked what fight shows Muhammad Ali at his absolute peak, most boxing aficionados will point to the champ’s bout against Cleveland “Big Cat” Williams. That choice makes sense when you look at the fight without knowing the background of the challenger and his physical condition at the time of the fight. It also adds up if you only look at Ali’s performance and don’t examine Williams’ moves during the fight.
Ali Drops Williams
The fight took place on November 14, 1966 at the Astrodome in Houston, Texas. Ali had won the title on February 25, 1964 with a stunning upset over Sonny Liston. A little over a year later he again defeated Liston, this time by a first round knockout in Lewiston, Maine. Muhammad vowed to be an active champion and he lived up to that promise. Over the next year leading up to the Williams bout, Ali fought five times defending the title both in the United States as well as in Europe. He decisively defeated all the opponents put in front of him. The list includes Floyd Patterson, George Chuvalo, Henry Cooper, Brian London, and Karl Mildenberger. These opponents may not make it to anyone’s list of all time greats, but they were the leading contenders at the time. Ali was not one to duck an opponent.
During the reign of Floyd Patterson, most of the top contenders were denied a shot at the title. Things were different with Ali as champ. Talented and confident, he was willing to take on all comers. But unfortunately, as 1966 was closing out there really weren’t any outstanding contendersthat stood a chance against Muhammad. The young crowd which included Jerry Quarry, Joe Frazier, Oscar Bonavena, and Thad Spencer were still a few years away from being ready to challenge for the title. Ali had been going through the former champs and contenders that were now beginning to age. There had been an effort to make a match against Ernie Terrell who claimed the WBA Heavyweight Championship, but terms for a contract had not been able to be worked out. Ali would go on to face Terrell the following year. He would also give Zora Folley a chance in 1967 in what would be Muhammad’s last fight before being exiled from boxing over his refusal to be inducted into the United States Army.
In the meantime, the name Cleveland Williams was tossed into the mix. A resident of Houston, Williams had a reputation as a very hard puncher. At the time, Ali had been so successful at not getting hit it was thought he might have a weak chin. After all, Henry Cooper had decked him with a left hook. Even though he was not a ranked contender, the fight was sold on the basis of Cleveland’s punching power. While Ali would certainly be the favorite, Williams had a “puncher’s chance,” at least that’s what the promoters convinced the public of.
The fight drew a live audience of 35,460 fans to the Astrodome, setting a record at the time for the largest crowd to witness an indoor fight. Gross receipts were $461,290 plus revenue from television and radio. The hype had worked.
As for the fight. Ali certainly looked impressive as he moved around Williams landing punches at will while never getting hit a serious blow in return. It was all over at 1:08 of the third round after Williams had been dropped on four occasions, three times in the second round and once in the third before the referee stopped the carnage. It was one of the most one-sided fights in heavyweight championship history.
Did Ali look magnificent that night? Without a doubt he did. He had the grace of a ballet dancer, the speed of a middleweight, and reflexes that were phenomenal. He was poised and relaxed. However, this was not a great win for him. While it is breathtaking to watch him in action against Williams, it must also be taken into account the caliber of his opposition. This is also not the fight to use when arguing how great Ali was. For while Ali had been staying very active in the years leading up to the fight, things were a bit different for Williams.
Cleveland Williams
And The Ugly Side Of Boxing
Big Cat Williams
Cleveland Williams was born on June 30, 1933 in Griffin, Georgia. He has stated he began his professional boxing career at the age of fourteen, lying about his age in order to get a license to box. When his real age was discovered he had to put his career on hold. A few years later he moved to Florida where he began boxing again.
According tom BoxRec, his first official pro fight was against Lee Hunt on December 11, 1951. He won by a knockout in the 2nd round. He went on to win 28 in a row with 25 victories by knockout. All his fights were in the South. He proved to have terrific punching power but, with the exception of Omelio Agramonte who was long past his prime, had not beaten any significant opposition.
The win against Agramonte did earn him a chance to fight in New Yorkwhere he took on Sylvester Jones who was in only his tenth fight. This was a four round preliminary bout and Cleveland was dropped twice on his way to losing a decision. The fight was on the undercard of the Marciano/LaStanza Heavyweight Title fight.
Satterfield Knocking Out Williams
Williams returned to Florida and ran off five more wins including a knock out over Jones. He was now matched against Bob Satterfield in Miami Beach. Williams was a late substitute for Satterfield’s original opponent. Even though he had a 25 pound weight advantage, Williams was knocked cold by Satterfield in the third round and it took several minutes to revive him.
Again, Williams resumed his career and ran up a series of wins. His next big chance would be against top contender Sonny Liston. It was April 15, 1959 and Liston stopped him in the third round. The two would fight again a year later and Liston would win by kayo in the second round.
Williams did not give up and had his best years in 1961 and 1962. During this time he scored wins over such fighters as Alex Miteff, Wayne Bethea, Alonzo Johnson, and Ernie Terrell. He also held Eddie Machen to a draw. There was now some talk of him getting a shot at the title. In a rematch with Terrell he lost a decision and in the meantime a young upstart named Cassius Clay had wrested the title from Sonny Liston.While Clay was winning the title in 1964, something major was also happening in the life of Cleveland Williams, something major and tragic.
On the night of November 29, 1964 Williams was stopped by a Texas State Police officer for suspicion of driving while intoxicated. What ensued is somewhat disputed, but the two got into a struggle and during the altercation the officer’s 357 Magnum was fired sending a bullet through Williams’s body ripping through his intestines and right kidney, lodging against his right hip. He was taken to a hospital where he died three times on the operating table. He lost a kidney and the bullet remained in his body. He shrank down to 155 pounds and had several more operations over the next 7 months. During his time in the hospital, Williams’s co-manager, Bud Williams, told him not to worry about the cost of his care as it was all being covered. Williams was not told by Adams that a tally was being kept and that Cleveland would be held liable for the expenses.
Hugh Benbow and Sonny Liston Visit Cleveland Williams In The Hospital
Cleveland Williams proved to be an amazing patient. In spite of all the damage he sustained from the shooting, he was determined to fight again. This was not a wise decision for a man who had been through what he had, but even though he now had only one kidney and a bullet still lodged in him, his managers encouraged him to continue boxing. They knew they could still make money with him. He began regaining his strength by working on his manger’s ranch. The manager, Hugh Benbow had bought out Bud William’s share of Cleveland’s contract and now was fully in charge. Williams regained much of his muscle mass and once again looked formidable, but the nerve damage had caused permanent harm to his reflexes. Just imagine, having your insides shot to pieces from a 357 Magnum and then stepping back into the ring just a little over a year later. That is just what Cleveland did.
On February 8, 1966 Williams faced Ben Black, a fighter with only four bouts on his record. He scored a first round kayo. He then went on to fight Mel Turnbow, Sonny Moore, and Tod Herring. He won all three but Turnbow dropped him during their match.
Based on these four wins and some amazing promoting by Hugh Benbow, Williams was now signed to fight Muhammad Ali for the title. Benbow must have had some real pull with the press as it was written that Ali’s camp was afraid of having him take on The Big Cat. It was claimed the only way Benbow could get them to agree was to convince them Williams was still suffering from his injuries from the shooting. To believe Ali only took the bout because he felt he was facing a semi invalid is ridiculous. However, it is true that Williams was in no condition to fight.
I looked back at the ratings during Cleveland Williams years boxing. Ring Magazine only rated him in the top ten during four years: 1961, 1962, 1963, and 1964. He was never ranked higher than number four, and was unranked at the time of his fight with Ali. His reputation was based on his punching power and the fact that Sonny Liston had called him one of the hardest punchers he had ever faced. His biggest fights were his losses to Liston, the victory, later reversed, over Ernie Terrell, and a draw with Eddie Machen.
On the night of the Ali fight, Williams was served with papers from lawyers representing his former manager Bud Adams. The suit being filed claimed Adams was owed $67,615.00 by Williams for the money that was spent while Cleveland was in the hospital. This meant that his purse for the fight would be attached and he would end up with pocket change after the bout. On top of having partial paralysis in his right hip, only one kidney, and a bullet pressing against his hip, Williams now knew he would make no money for the fight. He had to step into the ring that night against one of the greatest fighters of all time dealing with that burden. It was like a scene out of The Harder They Fall.
When you watch the fight, instead of focusing on Ali pay attention to Cleveland Williams. At the opening bell you can see how stiff his legs are. He actually stumbles a bit as he moves out from his corner. His legs have very little muscle mass. When he misses with a left hook he stumbles. He might look powerful, but the man still should have been in a rehab working on his reflexes and coordination. For Ali, this was more like working out on a heavy bag than fighting a man.
What Williams did was remarkable in coming back from death. He worked hard and restored his muscles, but he had been torn apart physically and emotionally. He never, never, should have been in a boxing ring.
Calling this Muhammad Ali’s greatest fight is a travesty. Ali had many great fights, but judging his greatness off of this one is plain silly. I asked boxing historian Mike Silver, the author of The Arc of Boxing about this and he said: “To say that Ali’s knockout of a damaged Cleveland Williams was his greatest performance is like saying the greatest performance of Larry Holmes’ career was his fight against a damaged Muhammad Ali. Both Ali and Williams were “shot” fighters (Williams literally) and were incapable of offering serious resistance.” He is correct. To Ali’s credit he never bragged about this victory.
Williams quit boxing after this fight, but broke and without a way to earn a living he made a comeback two years later. He fought from 1968 to 1972 when he retired for good. He ended up losing his remaining kidney and had to have dialysis treatments twice a week for the rest of his life. Boxing promoters and managers milked him for all they could get out of him and then left him to fend for himself.It is an ugly story, but one not uncommon in boxing.
Cleveland Williams died at the age of 66 broke and sick. He was killed when hit by a car while returning home from a dialysis treatment, marking a tragic ending to a tragic life.
Next time you are watching the Ali/Williams fight and in awe of how “great”Ali looks in it, just take some time to think about what condition Cleveland Williams was in that night. Also consider the type of people who inhabit the world of professional boxing. These are people who would throw an invalid into the ring with a great fighter and then take him for all he’s worth. Instead of watching that fight and getting all excited about Ali’s performance, you should feel sick when you know what really happened that night.
Ogunquit Playhouse Season Opens with the Multi-Tony Award-Winning Musical “Jersey Boys”
Runs From May 15 Through June 15
The Ogunquit Playhouse 2019 season kicks off withJersey Boys! The multi-Tony Award-winning, international sensation that performed to sold-out houses during its run in 2018,is back by popular demand May 15 through June 15. The cast that BroadwayWorld exclaimed to be “the closest you’ll ever get to having seen Frankie Valli and the Four Seasons,” also returns to the Ogunquit stage – Jonathan Mousset (Frankie Valli), Matt Magnusson (Tommy DeVito), Andy Christopher (Bob Gaudio), and Matthew Amira (Nick Massi).
Follow the incredible story of four guys bound by one dream, who worked their way from the streets of New Jersey to the heights of stardom. Jersey Boys takes audiences on an exhilarating journey with the electrifying performances of the golden greats that took these hometown boys from Jersey all the way to the top of the charts: “Sherry,” “Big Girls Don’t Cry,” “Can’t Take My Eyes Off You,” “Dawn,” “My Eyes Adored You,” and many more. If you missed it last year, don’t miss your chance to see this blockbuster show – you’re sure to leave exclaiming, “Oh, What a Night!”
Starring as Frankie Valli, lead vocalist of The Four Seasons is Jonathan Mousset. His phenomenal performance, falsetto, and range was described as astounding by the Portland Press Herald last season. Mr. Mousset has performed in many regional theatres across the U.S. in such shows as Newsies, In the Heights, and Godspell. He has also performed in concerts at New York City venues including 54 Below, the Times Center, and the Town Hall. Matt Magnusson returns to play charming bad-boy Tommy DeVito, the lead guitar player of The Four Seasons, who serves as the show’s primary narrator and founding member of the band. Mr. Magnusson has numerous regional theatre credits including Grease, Spring Awakening, American Idiot, and Ring of Fire.
Reprising his role from last season as Bob Gaudio, the sensible and poised songwriter behind The Four Seasons is Andy Christopher. He has performed as Buddy Holly in the National Tour of Buddy: The Buddy Holly Story and in many regional theatres across the U.S. including Bucks County Playhouse, Flat Rock Playhouse, West Virginia Public Theatre, The Muny, Pittsburgh Civic Light Opera, Great Lakes CFA, Fulton Theatre, Maine State Music Theatre, Casa Mañana, and the Ogunquit Playhouse where he got his start in 2012. Matthew Amira also returns to the Playhouse after his highly regarded portrayal of The Four Seasons bassist Nick Massi. Mr. Amira also performed at the Ogunquit Playhouse in the 2016 production of The Hunchback of Notre Dame. His many regional theatre credits include Madame Defarge, She Loves Me, Fiddler on the Roof, and South Pacific among others.
The Ogunquit Playhouse production will once again be helmed by Award-winning director, writer and producer Holly-Anne Palmer. Ms. Palmer is the lead Producer and Creative Director of theglobal hits Wine Lovers the Musical, PROHIBITION, and Holiday Happy Hour. She has numerous Broadway credits including Jersey Boys, Billy Crystal’s 700 Sundays, Bring It On: The Musical, Dracula, Walking With Dinosaurs, and Cover Girls. Her many Off-Broadway and regional credits include the 25th Anniversary Production of Steel Magnolias at Le Petit Theatre, Gentleman’s Wish and Will Success Spoil Rock Hunter? at Barrow Group, Platforms at TASC, Autophobia at Ars Nova, Inventing Avi Aviv at Abingdon Theatre, Oklahoma! for the Reagle Players, and for the Ogunquit Playhouse 2009 production of All Shook Up starring Sally Struthers.
SECOND-GENERATION SURVIVORS OF THE KHMER ROUGE GENOCIDE SHATTER ITS SILENCE
ARTSEMERSON PRESENTS
SEE YOU YESTERDAY
BY GLOBAL ARTS CORPS
IN PARTNERSHIP WITH PHARE PERFORMING SOCIAL ENTERPRISE AND PHARE PONLEU SELPAK ASSOCIATION
FIVE PERFORMANCES ONLY
MAY 16 – 19, 2019
AT THE EMERSON PARAMOUNT CENTER
Photo Credit:Jacqueline Lessac
On the heels of Cambodian New Year, ArtsEmersonis honored to welcome See You Yesterday, a moving performance by Global Arts Corps which explores the painful history of the Khmer Rouge genocide in Cambodia. Directed by Michael Lessac, nineteen Cambodian performers utilize their extraordinary physical skills, including acrobatics and circus arts, to travel back in time and shatter a legacy of silence. Global Arts Corps brings See You Yesterday’s U.S. premiere to Boston to close ArtsEmerson’s 2018/2019 season, for five performances only, May 16-19, at the Emerson Paramount Center Robert J. Orchard Stage.
Over 22 weeks of development since 2012, Global Arts Corps—whose celebrated work brings together people from opposite sides of violent conflicts—collaborated with these young Cambodian artists as they grappled with the painful history of their country’s genocide. While details of the four-year horror have largely gone unexplored by younger generations of Cambodians, the cast of See You Yesterdayinterviewed their elders (and even a former Khmer Rouge child soldier) to build a stunning performance that is both beautiful and cathartic.
“In 2013, when we brought our Northern/North of Ireland production Hold your Tongue, Hold your Deadto Boston audiences, we witnessed two communities, separated by an ocean and burdened by their own personalized historical memories, find a common healing ground in talk- backs across the footlights,” says See You Yesterday director Michael Lessac. “At a time when we seem to be clinging to what separates us and not what connects us, we wanted to be in the same place again to see what happens when another, totally different, theatrical vision of honesty, tenacity, and imagination takes the ArtsEmerson stage. See You Yesterdaybrings to Boston a cast of young Cambodian circus artists whose culture has forced them to live in silence with a harrowing memory. They have created a performance that shows us how hope can emerge from despair and how truth can emerge out of a powerfully moral and courageously honest imagination. I could not be more proud to be working with David Dower and his extraordinary team, in the namesake space of my old friend, Rob Orchard, as we once again explore together what happens when inherited conflict and unspoken multiple truths are surfaced across continents so that generations can talk to each other again.”
“See You Yesterdayis precisely the kind of experience that ArtsEmerson has become known for over these past nine seasons,” says ArtsEmerson artistic director David Dower. “The show puts one of most vibrant world cultures in the spotlight. Our region hosts one of the largest Cambodian communities in the nation and as with last season’s Bangsokol, we are presenting it in deep partnership with that community, both in Boston and in Lowell. This effort to put the world on stage in dialogue with diverse communities delivers that particular synergy between the art and the audience that our supporters have come to count on. See You Yesterdayalso uses a form of storytelling that is entirely ArtsEmerson – sharing its moving search for restorative justice through the tools of circus and dance. We are proud to be working with Michael Lessac and Global Arts Corps to tell this story.”
Directed by Spiro VeloudosMusic Director, Jonathan GoldbergChoreography by Micheline Wu
Additional material by Hugh WheelerOrchestrations by Jonathan Tunick
Original Broadway production directed by Harold Prince and Produced by Harold Prince in association with Ruth Mitchell
May 10 – June 16, 2019
This startling, entertaining, and thrilling masterpiece puts a cap on Spiro Veloudos’ multi-year Sondheim Initiative. An unlikely friendship is forged between a samurai, Kayama, and an Americanized fisherman, Manjiro, during Commodore Matthew Perry’s 1853 mission to open trade relations with isolationist Japan. The two friends are caught in the inevitable winds of change and tell the story of Japan’s painful and harrowing Westernization. A highly original, inventive, powerful, and surprisingly humorous theatrical experience.
FEATURING:
Kai Chao, Sam Hamashima, Alexander Holden, Elaine Hom, Carl Hsu, Brandon Milardo, Gary Thomas Ng, Jeff Song, Karina Wen, Micheline Wu, Lisa Yuen.
Lyric Stage Company of Boston
Copley Square, Boston
Box Office 617-585-5678 lyricstage.com
Keith Hamilton Cobb Starts An Important Conversation
Review: American Moor
Written and Performed by Keith Hamilton Cobb
Directed by Kim Weild
Presented by ArtsEmerson
Through April 21
Emerson Paramount Center, Boston
Reviewed by Bobby Franklin
Photo Credit:Chris Lang Photography
Keith Hamilton Cobb loves the work of William Shakespeare. His passion for and relationship with the words are conveyed strongly early on in American Moor, the autobiographical play he has written and he is now performing in at the Emerson Paramount Center in Boston. His enthusiasm is infectious as he takes the stage and recites lines and passages while telling the story of how he came, at an early age, to love the great plays. He is funny, provocative, and touching. If this were only a work about one man’s journey of discovering Shakespeare it would be outstanding. However, there is much more to Mr. Cobb’s story.
You see, Mr. Cobb is an actor and a Shakespearean. He is also a 6’4” black man, and in his relationship with the theatre that fact cannot be ignored. Early on when he was asked what characters from Shakespeare he would like to perform he mentioned Hamlet, Romeo, and even Titania from A Midsummer Night’s Dream. It was assumed he would say Othello, or the big “O” as the role as become known. It is here where we begin to see his anger.
Mr. Cobb is on the stage alone for the entire 90 minute performance. Josh Tyson plays a director who speaks from a seat in the audience, and the dialog between the two is both funny and revealing. As Cobb is reciting his lines the director is giving him suggestions on how he should deliver them. Cobb pulls no punches in his feelings about people who interpret Shakespeare with an arrogance and superiority as if they had been close friends with him. It is particularly irritating to him when he hears “What Shakespeare was trying to say here…” His responses to these comments are spoken aloud with anger and frustration, and he is quick to point out that he didn’t actually say them when being auditioned but was thinking then. After all, he was trying to get a job, and he doesn’t get to interview the artistic directors.
At this point we see his bond with Othello begin. Othello was also involved with acting a certain way in order to maintain his job. He becomes protective of the Moor and questions how a white director can understand what goes on in the mind and psyche of a black character, and a black actor. He argues that his being a large black man gives him a particular insight that a white person could never feel.
This work is a great starting point for a “conversation”, a word that is so often used today but rarely happens in America, about race. Is it true that only a black man can inhabit and understand the role of Othello? And if that is true, doesn’t it mean that Mr. Cobb could end up pigeon holed in roles that only match his race? I certainly hope not. I’d love to hear more of his thoughts about cultural appropriation and how it should be handled in the theatre.
In the end Cobb does reveal that he was making it too personal, that he is the vessel for the words of Shakespeare. It might also be asked how this dead white male was able to create such a complex character who was so different from himself.
Photo Credit: Ernesto Galan
American Moor is a fascinating work that touches on so many emotions and questions. It would be easy to sit through it and treat it as a lecture on how white people just don’t get it, and in so many ways that is true. But, it would be a shame if it is only seen as that. It is such a good place to begin the conversation, and theatre is a place to explore the feelings of those different from us and to speak openly and honestly with those with whom we have differences.
I do know the hour and a half I spent watching Mr. Cobb perform got my mind working. His strong emotions got my own to react. In my mind I was having a conversation with him, and I left the theater with many questions.
He talked about people expecting a black actor to behave in a certain way. It is also true many white people think they have to behave in a certain way when interacting with a black person. Wouldn’t it be wonderful if we could be ourselves and speak openly about these issues.
Keith Hamilton Cobb has been open with his emotions. He is honest and revealing and that takes courage. Exploring these issues through the work of William Shakespeare is a fine way to approach them. I recommend you head over to the Emerson Paramount Center and listen to what Mr. Cobb has to say. If the conversation makes you uncomfortable, he is doing his job. If you manage to leave the theatre without wanting to hear more Shakespeare, well, then you really weren’t paying attention.
Sanford Performing Arts Center at Sanford High School, 100 Alumni Boulevard, Sanford, Maine 3:00 pm
Seaglass Performing Arts Chorale, conducted by Artistic Director and Founder JeanStrazdes, will be performing Carl Orff’s Carmina Burana at the new Sanford Performing Arts Center at Sanford High School, Sanford, Maine at 3:00 pm on April 28, 2019. The performance will be one of the premiere concerts at the new center and is in celebration of Seaglass Performing Arts’ 25th anniversary performance year. The Chorale will be collaborating with the Chamber Singers of Sanford High School under the direction of Jane Kirton and the Marshwood Middle School Chorus under the direction of Kris Bisson.
Seaglass Chorale is proud to present Carl Orff’s masterwork, Carmina Burana, featuring soprano Sierra Marcy, baritone Will Prapestis, and a children’s choir from Sanford Middle School. Carmina Burana is a scenic cantata composed by Carl Orff in 1935 and 1936, based on 24 poems from the medieval collection of the same name. The first and last movements of the piece are called “Fortuna Imperatrix Mundi” (“Fortune, Empress of the World”) and start with the very well known “O Fortuna”. Carmina Burana was first staged in Frankfurt, Germany, by the Frankfurt Opera on June 8, 1937, to wide acclaim. Since then, no other Orff composition has approached the renown of Carmina Burana, as evidenced in both pop culture’s appropriation of “O Fortuna” and the classical world’s persistent programming and recording of the work. In the United States, Carmina Burana remains intensely popular.
Tickets for this single performance of Carmina Burana are $20 (at the door); $15 (online and advance purchase); $10 (students 12 to 18); free for students under 12. Tickets can be purchased online at seaglassperformingarts.org, from any chorale member and are also available at Morse Hardware on Route 1 in Wells.
Seaglass is a 501(c)3 not-for-profit organization.
GREATER BOSTON STAGE COMPANY
PRESENTS THE TONY AWARD-WINNING SMASH HIT MILLION DOLLAR QUARTET
Greater Boston Stage Company proudly presents the beloved rock ‘n’ roll musical Million Dollar Quartet. Million Dollar Quartetbrings to life the famed 1956 on-the-fly recording session at Sun Records that brought together icons Elvis Presley, Johnny Cash, Jerry Lee Lewis and Carl Perkins for one of the greatest jam sessions ever. Featuring a score of hits that includes “Blue Suede Shoes,” “Great Balls of Fire,” “Walk the Line,” “Hound Dog,” and more, Million Dollar Quartetwill have audiences dancing in their seats. Directed by Associate Artistic Director Ilyse Robbins, performances run April 25 – May 19, 2019.
Shares Robbins, “I first heard about Million Dollar Quartet from my parents. They enjoyed it so much, that they saw it twice – in New York and on tour. It turns out that in one of the productions, my parents saw our Music Director and Jerry Lee Lewis, James Scheider, who was their favorite part of the show.” She continues, “Million Dollar Quartet is an evening of song, joy, and story – three things that I love.”
The Million Dollar Quartet Cast features Melissa Geerlof, Nile Scott Hawver, Luke Linsteadt, Trey Lundquist, Matthew Pitts, Austin Wayne Price, Robert Saoud, and James Scheider.
The Design Team is comprised of Scenic Designer Patrick Lynch, Lighting Designer Jeff Adelberg, Costume Designer Stephen LaMonica – a Young Company alum, Sound Designer John Stone, and Props Master Emme Shaw. Music Direction is by James Scheider.
Box Office: (781) 279-2200, 395 Main Street, Stoneham, MA 02180Mondays – Fridays, 11am to 6pm; Saturdays, 1pm to 6pmwww.greaterbostonstage.org
Art Thou Ready To Rumble? Paula Plum Scores A Knockout With The Lyric Stage/Actors’ Shakespeare Project’s
Twelfth Night
Reviewed by Bobby Franklin
Bobbie Steinbach, Alejandro Simoes, Michael Forden Walker
Twelfth Night is considered one of William Shakespeare’s three great comedies. It is also a dark comedy, as well as the Shakespeare play that contains the most music. While it is not exactly known what the songs would have sounded like in the original productions, the lyrics are contained in the plays.
In this production, the Lyric Stage Company has joined with Actors’ Shakespeare Project and the results are delightful. Under the creative direction of Paula Plum, the action is moved from the Elizabethan Period to the 1920s. The set is modeled after New Orleans’ French Quarter and is softly lit, giving it a jazz club feel.
This is fitting, as Ms Plum has employed the very talented David Wilson to compose music to accompany the lyrics Mr. Shakespeare has provided. The bluesy jazz has the feel of Billie Holiday crossed with George Lewis. The songs are performed by Rachel Belleman in the role of Feste. Ms Belleman has an exquisite voice as she sings while being accompanied by digital music that is piped in through a juke box. Other than realizing there is not an orchestra present, you would never guess Mr. Wilson has made this happen through the wonders of modern technology. There are also flapper era songs such as I Wanna Be Loved By You and Someone To Watch Over Me that are played as incidental music.
Twelfth Night utilizes many of the familiar devices Shakespeare uses. A pair of twins that are separated, gender bending, a shipwreck, mistaken identity, and a character who is outcast by the others. It can get confusing, but that is the charm in it all.
In addition to Rachel Belleman’s Feste, and she brings much to her fine performance than her amazing singing talents, the stage is populated with a strong cast of Boston veteran actors and young talent who do not disappoint.
Richard Snee, Michael Forden Walker, Bobbie Steinbach, Jennie Israel
Bobbie Steinbach and Alejandro Simoes as Sir Toby Belch and Aquecheek respectively, bring a vaudeville/slapstick flavor to their parts. There are also shades of Laurel and Hardy. They are dressed in brightly colored costumes and wear derbies. Ms Steinbach reminded me a bit of the Penguin from the Batman series. As usual, she is a presence on the stage but never at the expense of her fellow players. Michael Forden Walker in straw hat as Valentine and Maria played by Jennie Israel round out the gang who set up Malvolio. This is Shakespeare meets vaudeville.
They are really funny, but the darkness also comes through when they begin to gaslight the somber Malvolio played by Richard Snee. This is a more sympathetic Malvolio than is sometimes seen. He is stern and unforgiving in his treatment of Sir Toby and Viola. A steward to Olivia, he is duped into believing she has romantic intentions toward him. The scene where he dresses in cross garters and yellow stockings is right out of Sid Caesar and is hysterical, which makes his embarrassment the more palpable when he finds out he has been duped. Imprisoned for madness, his rage is understandable, and Mr. Snee delivers Malvolio’s angry words to his tormenters like a cannon shot fired into the audience.
Richard Snee, Samantha Richert, Rachel Belleman
The dueling scene is presented as a boxing match, and while the legacy of Joe Louis is not threatened, it is fun and lively. Hearing the lines “Art thou ready to rumble?” was really amusing and a nice touch by Ms Plum.
Samantha Richert is a boozy Olivia dressed as a 1920’s flapper. She and Orsino are both smitten with Cesario who is really Viola in disguise. Played by Hayley Spivey, Viola has been shipwrecked in Illyria and believes her twin brother Sebastian (Dominic Carter) has been lost.
Ms Spivey and Mr. Carter are both making their Shakespearean debuts in Twelfth Night, but you would never know it by their performances. Hayley Spivey is confident and recites her lines flawlessly. Her timing is impeccable and precise as she moves effortlessly across the stage.
Dominic Carter has fewer lines, but the old saying about less being more certainly holds true for him. There is almost a shyness about his performance that makes it both subtle yet understatedly powerful. I was very impressed with both Mr. Carter and Ms Spivey. I hope they will take to the stage in future Shakespeare productions.
Hayley Spivey, Alejandro Simoes, Samantha Richert, Dominic Carter
This Lyric Stage/Actors’ Shakespeare Project collaboration is terrific. The Lyric has not put on a Shakespeare play in some time and opening up the theatre in Copley Square for this production shows how well two different companies can work together. I thought “Oh No! Two Artistic Directors working on the same project at the same time! This could get crazy.” However, Spiro Veloudos at the Lyric and Christopher Edwards from ASP obviously work well together. I think they also let director Paula Plum have a free hand, and that was wise.
Some people are not happy when a Shakespeare play is set in a more modern era. It never has bothered me as long as it stays true to the original in dialog and meaning. This does not mean it always works. This one does, and it works extremely well. It is highly entertaining, funny, the music is perfect while the story remains intact and as meaningful as ever.
Alejandro Simoes, Hayley Spivey
To those of you who still suffer from the slings and arrows of that high school teacher who managed to instill in you a lifelong dislike of the world’s greatest playwright, have no fear as you will enjoy this production. I heard some people at intermission saying the play was confusing. Well, it is and is supposed to be. The characters become confused. Many plays take time to resolve themselves as they progress, and this is rarely an issue. In Shakespeare, however, I think the ghosts of teachers past sometimes haunt us. My advice: don’t hang on every word, don’t worry if you feel you are not getting the story immediately, remember that you will not be given a test right after, and most of all, remember that you are not reading it. You are watching it which is the way it was meant to be experienced.
Relax and enjoy what has to be one of, if not the, best productions of a Shakespeare play this season. As Orsino says “If music be the food of love, play on; Give me excess of it”. The music at the Lyric stage is certainly the food of love…and of great theatre.
Photos by Mark S. Howard
Twelfth Night
Through April 28
The Lyric Stage, Copley Square, Boston
lyricstage.com 617.585.5678
He uses statistics as a drunken man uses lamp-posts… for support rather than illumination.–Andrew Lang (1844-1912)
Ali vs Shavers
Rating the top-ten heavyweight punchers of all-time would be easy if we just added up the number of knockouts on a boxer’s record.But that would be a mistake. Without evaluating the quality of the level of competition the statistics are irrelevant. A fighter whose record lists many knockouts over third rate stumblebums is less impressive than one who has faced many more quality opponents and scored fewer knockouts.
Possessing knockout power is a huge asset but more important is how effective the boxer is in applying power to achieve the victory. Three months ago Deontay Wilder, possessor of perhaps the hardest right hand punch of any active heavyweight, was lucky to walk away with a draw decision against Tyson Fury. Wilder was by far the superior puncher but he had no strategy other than just throwing punches and hoping one would land. One of those rights finally landed and dropped Fury in the 12th round but Wilder couldn’t finish him off.
Superior boxing technique combined with a heavy punch is a dangerous combination. The most obvious example is former light heavyweight champion Archie Moore. During his remarkable 28 year boxing career Moore knocked out a record 131 opponents. Many years ago I interviewed one of his opponents. Willi Besmanoff was a heavyweight contender who had fought both Archie Moore and Sonny Liston. In December 1959 Besmanoff fought a prime Sonny Liston and was stopped on cuts in the seventh round. Willi absorbed some fearsome shots but did not go down. It was the first time in 66 bouts he’d been stopped. Five months later he fought Archie Moore. Besmanoff was knocked down in the 10th round and was taking a beating when the referee intervened and stopped the fight.
“Besmanoff’s answer reveals the difference between a knockout puncher and a knockout artist.”
I asked Besmanoff who hit harder, Sonny Liston or Archie Moore? “Liston was the stronger, a very powerful man”, said Besmanoff. “But his punches were not aimed that carefully. Moore knew exactly when and where to hit you, and he hit you where it hurt the most. Liston’s punches were more powerful but Moore’s punches were more accurate and damaging.”Besmanoff’s answer reveals the difference between a knockout puncher and a knockout artist.
Even if we had a machine that could measure the power of every boxer’s punch (I’m sure Wilder would rate very high) it would still not give us the answers we seek. A powerful punch is but one of several tools in a boxer’s arsenal. What good is that tool if a fighter cannot or will not utilize it to its fullest potential?
There are four criteria that must be considered when evaluating a heavyweight’s rating as a puncher. Fist we start by analyzing the quality of his competition. Next we determine how many KOs were scored over opponents who were rarely, if ever, stopped. A Third consideration is the ability to maintain effective punching power into the late rounds. This quality can be influenced not just by the fighter’s endurance but also his psychological makeup. How does he react when his punches are not having the desired effect? Is he capable of adjusting his strategy when things are not going his way?
The fourth requirement is that a great puncher also has to be a great finisher. Once an opponent is hurt he will know how to end the fight quickly and efficiently. The textbook example of this can be found in any film of a Joe Louis KO victory, especially his one round annihilation of Max Schmeling and his 13th round knockout of Billy Conn.
“These are qualities that cannot be measured by statistics or a cleverly edited highlight video. Too often opinion is influenced by frivolous hype that lacks context and depth.”
These are qualities that cannot be measured by statistics or a cleverly edited highlight video.Too often opinion is influenced by frivolous hype that lacks context and depth. Search the internet under the topic “Greatest Heavyweight Punchers” and every list that comes up will include Earnie Shavers. Of course Earnie possessed awesome power. That fact is not in dispute. His right cross was a frightening weapon—when it connected. But I cannot rate him among the top-ten all time heavyweight punchers, or even the top 20, for that matter. Before you blow a gasket keep in mind the four criteria mentioned earlier. We are not just considering raw power, but the effective use of that power to achieve victory against quality opposition on a consistent basis. If Sandy Koufax, the great baseball pitcher, had never learned to control his fastball, his full potential would never have been realized. Pure speed was not enough, just as raw power is not enough unless it can be used effectively to achieve the desired result.
“The problem for Earnie was that throughout his career he remained a second rate boxer with a first rate punch.”
The problem for Earnie was that throughout his career he remained a second rate boxer with a first rate punch. When we combine that flaw with his serious stamina issues the true measure of his greatness (or lack thereof) as a puncher comes into clear focus. The key to defeating Earnie was not to let him hit you, which wasn’t that difficult if you were a skilled boxer. But even if he did hit you with his best punch and you stood up and fought back, as happened on at least five different occasions, it was Earnie who was stopped.
Shaver’s greatest victory was his first round KO of former champion Jimmy Ellis in 1973. It was that win that thrust Shavers onto the world stage. He came into that fight with a 44-2 won- loss record that included an astounding 42 wins by knockout. Thirty-seven of those victims never made it past the 4th round. Nevertheless, even though the 33 year old Ellis was at least a year past his prime he was a pronounced favorite to win. The odds makers weren’t fooled. An examination of his record revealed his 42 KO victims had a total of 334 losses (and nearly half by knockout).
Ellis was very confident, as he should have been—maybe too confident. He came out punching in the first round and had Shavers in trouble right away. In desperation Shavers threw a right uppercut that landed flush on Ellis’s chin sending him sprawling to the canvas where he was counted out.
I don’t think Shavers’ management expected their fighter to win. They were well aware of his limitations. Early in his career, in his 15th fight, he was flattened by Ron Stander, a tough undefeated comer with nine straight wins. A decision was made not to take any chances after that loss and instead pad his record by carefully matching him against opponents who were used to losing. Until he met Ellis the only recognizable name on his record was Vicente Rondon, a former light heavyweight titlist whose previous two fights were quick knockout losses to Ron Lyle and Bob Foster. Shavers, fighting in his home town, was awarded the decision but was unable to catch Rondon with a solid punch.
Quarry vs Shavers
After his stunning win over Ellis, Shavers was matched against top ranked Jerry Quarry. The Madison Square Garden crowd expected fireworks and they were not disappointed. Quarry opened up right away and knocked Shavers to the canvas with a series of lefts and rights. He was up at the count of nine and then retreated to the ropes. Quarry was landing punches without a return when the referee intervened and stopped the fight at 2:21 of the first round.
One year after his debacle against Quarry, Shavers returned to New York, this time fighting in the Garden’s adjacent smaller arena. His opponent was an ordinary but tough journeyman boxer named Bob Stallings, whose record was an uninspiring 21 wins and 24 losses. Stallings was able to avoid Shavers’ bombs on the way to winning a unanimous decision. It was only the second time Shavers had gone ten rounds and his lack of endurance was evident as he barely made it to the final bell.
Three weeks after losing to Stallings he fought a 10 round draw with Jimmy Young. After three more victories against modest opposition he faced his next big test against top ranked Ron Lyle. The two power punchers staged a free swinging brawl that saw Lyle come off the floor to outlast Shavers and stop him in the sixth round.
“Now that Shavers was meeting a better class of boxer he was scoring far fewer knockouts.”
Now that Shavers was meeting a better class of boxer he was scoring far fewer knockouts. Whereas prior to his loss to Quarry his KO ratio was 91 per cent, in his subsequent 41 fights he scored only 23 knockouts for a 56 per cent ratio. During that time he knocked out only one rated contender while going the 10 round distance with Henry Clark, Leroy Boone, James Tillis and Walter Santemore—not exactly household names. These last two were able to avoid Shaver’s equalizer and outpoint him. But he did show improvement in knocking out Clark in a rematch and stopping Howard Smith and Roy Williams, all three of whom were decent heavyweights.
Lyle vs Shavers
On the rare occasions when a fighter was crazy enough, or tough enough, to exchange blows with Shavers the chance for a successful outcome improved if they could get beyond the 5th round. Bernardo Mercado, and Tex Cobb did just that. They took Shavers’ best shots and eventually stopped him in the 7th and 8th rounds respectively. Cobb was asked what it was like to be hit by Shavers. “The first right he threw missed and landed on my shoulder”, said Tex.“It felt like someone had dropped a bowling ball on my shoulder”.
Ken Norton was the only rated contender, other than Jimmy Ellis, that Shavers was able to defeat. Nearing the end of his career Norton seemed ready to accept defeat as soon as the bell rang. Perhaps it was the memory of his brutal knockout at the hands of George Foreman five years earlier that froze him into inaction against another big puncher. In a suicidal move Norton quickly retreated to the ropes where he presented Shavers with his dream target—a stationary fighter who would not fight back. After two knockdowns the fight was stopped in less than two minutes of the first round.
In his prime Shavers lost to Larry Holmes (twice), Jerry Quarry, Ron Lyle, Bob Stallings, Bernardo Mercado and Tex Cobb and couldn’t take out a light heavyweight (Rondon) who in his previous fight was flattened in two rounds by Bob Foster.
So what is the explanation for so many people believing Earnie Shavers is an all-time great puncher? I believe it can be traced to the hype surrounding two of his most important fights, both of which, ironically, he lost.
In 1977 Shavers fought Muhammad Ali for the heavyweight championship.It was a fight that should never have taken place. At 35 Ali was washed up but refused to accept reality. Making matters worse, he barely trained for the fight. Ali came into the ring weighing 225 pounds, the heaviest of his career. He was fleshy and out of shape. The “float like a butterfly, sting like a bee” days were long gone.
If Ali had come into the ring in shape even at that late stage of his career he could have stopped Shavers in the eighth or ninth round. The key was to not let Shavers control the pace of the fight and rest when he wanted. But Ali had to rest as much as Shavers. The image that everyone remembers from the fight was The Greatest being rocked again and again by Shaver’s horrific punches as they slammed into his head. I counted at least 17 full force overhand rights that landed. At one point Ali nearly went down. It was amazing that he stood up under these punches. Only his ring guile, incredible chin, and Shaver’s lack of stamina kept him from being knocked out. It was the worst head beating of Ali’s career and did much to accelerate his descent into pugilistica dementia. At the end of 15 sickening rounds Ali was awarded the unanimous decision. Many fans thought the decision should have gone to Shavers.
When he was interviewed after the fight an exhausted and hollow eyed Ali made the memorable comment that added fuel to the growing respect for Shaver’s punching power: “Ernie hit me so hard, he shook my kinfolk back in Africa”.
Holmes vs Shavers
Two years later Shavers fought Larry Holmes for the heavyweight championship. For six rounds he tried mightily to land his haymaker but kept missing. Then, suddenly, in a brief moment of carelessness Holmes left himself open and one of Shaver’s wild swings connected to the side of his jaw. Holmes fell hard and landed flat on his back.
Holmes had never been knocked down. He was hurt but was up at the count of six and survived the round. Holmes continued his domination over the next three rounds. In the 11th round, with Shavers sucking wind and barely able to hold up his hands, the referee stopped the fight. Holmes told reporters that Shavers was the hardest puncher he had ever faced.
A huge deal was made of Holmes getting off the canvas and surviving the 7th round. It really was much ado about nothing. In their two fights totaling 23 rounds it was the only round Holmes lost. But it was a heavyweight title fight and the big punch had come out of nowhere to nearly upset the applecart. That is exactly why people are drawn to heavyweights. You never know when the big punch might land. And it is why people were drawn to the popular Shavers whose very presence in the ring generated a certain amount of excitement, as is the case with all big punchers, no matter what weight class they compete in.
The following week the cover of Sports Illustrated featured a photo of the fight with the headline “Can’t Keep A Good Man Down: Holmes Comes off the Deck to Overpower Shavers”. So in trying to build up Holmes the press had to build up Shavers as well. The fact of the matter is that despite hurting Holmes with his best punch he was unable to finish him. The hype over that one punch was blown way out of proportion. But the sport needed something to get excited about in the post Ali era. (Ali had announced his retirement a year earlier). The new heavyweight king by comparison was a competent but colorless champion who ruled over a division depleted of talent.
Earnie Shavers gave us some of boxing’s most memorable moments. He is a class act and a credit to the sport. But his reputation as a great puncher is based on a lucky punch KO of Ellis, a fight that he lost (Ali), one spectacular knockdown (Holmes), and comments by several former opponents who beat him. That alone is not enough to place him among the greatest heavyweight punchers. Let the facts speak for themselves.
Mike Silver’s newest book is “The Night the Referee Hit Back: Memorable Moments From the World of Boxing” a collection of the author’s best articles and interviews from the past 40 years.
Box Office: (781) 279-2200, 395 Main Street, Stoneham, MA 02180 Mondays – Fridays, 11am to 6pm; Saturdays, 1pm to 6pm
