A Play with Original Songs by the Author of Silent Sky, I and You,
Miss Bennet: Christmas at Pemberley
Merrimack Repertory Theatre (MRT) will present the world premiere of The Heath by Lauren Gunderson, one of the most produced playwrights in America (Silent Sky, I and You, Miss Bennet: Christmas at Pemberley) from February 13 to March 10 at the Nancy L. Donahue Theatre at Liberty Hall, according to Artistic Director Sean Daniels and Executive Director Bonnie J. Butkas.
A new play with music about the playwright’s relationship with her grandfather, The Heath is directed by Artistic Director Sean Daniels (The Lion, Miss Bennet: Christmas at Pemberley, Little Orphan Danny). The play includes banjo, four original songs, and several traditional tunes.
In The Heath, Gunderson turns her prodigious storytelling skills on herself as she wrestles with how you make peace with a beloved relative who seems unlike you in every way. This beautiful, funny meditation on her grandfather’s life draws on everything from Shakespeare to Bluegrass in a soul-stirring story of redemption, love, madness, and the science of memory.
Of The Heath, Gunderson said, “I started the script before my PawPaw died as it occurred to me that the only reference I had for his condition was the literary figure of King Lear. It’s a love letter to him, an apology, and a reckoning, as well as a chance to discover a man I thought I knew so well.
“I was inspired to add banjo to the play when I remembered how much PawPaw loved Flatt and Scruggs bluegrass music. It felt like a crazy challenge to myself. The songs are simple but full of emotion and heart. The big ending song, Storm Still, was the most cathartic to write. It really allows me to say, ‘I love you, I miss you, I’m proud of you,’ to my grandfather,” she said.
The cast features Miranda Barnett as Lauren and George Judy as KD, her grandfather, and King Lear.
A classically trained musician-turned-actor, Barnett has been studying the banjo for the past three months in anticipation of the show. A native and resident of South Carolina, her credits include The Rocky Horror Picture Show; Vanya, Sonia, Masha and Spike; Sweeney Todd; and Les Liaisons Dangereuses.
George Judy is the Gresdna A. Doty Professor of Theatre at Louisiana State University, as well as the former head of the MFA Acting Program there and former Artistic Director of Swine Palace, LSU’s Equity theatre-in-residence. He has appeared in numerous Shakespeare productions, including King Lear, The Tempest,The Merry Wives of Windsor, and A Midsummer Night’s Dream, at the John F. Kennedy Center for the Performing Arts in Washington, D.C., Royal National Theatre in London, and the Utah, Texas, and Kentucky Shakespeare festivals, among many other venues. FUN FACT: George Judy was Sean Daniels’ acting coach in college.
The Heath by Lauren Gunderson runs from February 13-March 10, 2019. For more information visit www.mrt.org or contact the MRT Box Office at 978-654-4678.
THE PRODUCTION BRINGS ITS U.S. TOUR TO ARTSEMERSON BY AWARD-WINNING DIRECTOR STEPHEN DALDRY
TWO WEEKS ONLY
MARCH 14 – 24, 2019
EMERSON CUTLER MAJESTIC THEATRE
Jeff Harmer, Hamish Riddle and Andrew Macklin (Photo by Mark Douet)
ArtsEmerson, Boston’s leading presenter of contemporary world theatre, is honored to welcome the U.S. tour of J.B. Priestley’s classic theatrical event, An Inspector Calls. Returning to direct his National Theatre masterpiece revival is Stephen Daldry (Oscar-nominated director of The Reader, The Hours and Billy Elliot) who also brings the iconic grand-scale set from the West End to Boston. This production of An Inspector Callsis the longest running revival of a play in history, seen by over 4 million theatergoers worldwide and winning an unprecedented number of awards including three Olivier Awards, four Tony Awards and seven Drama Desk Awards.
Written at the end of the Second World War and set before the First, the play begins when the mysterious Inspector Goole calls unexpectedly on the prosperous Birling family home, shattering their peaceful family dinner party with his investigations into the death of a young woman. The Telegraph calls it “an Edwardian thriller with a socialist purpose, tinged with a supernatural spin” and The Independent hails “its power and pertinence feel all the more striking.”
“Daldry’s triumphant An Inspector Callsis the kind of treat we are always looking to bring to ArtsEmerson’s audiences,” says ArtsEmerson artistic director David Dower. “Like earlier productions of revivals like A Trip to Bountiful and Beauty Queen of Leenane, this one delivers a time-tested play in a definitive, visionary staging that exhilarates as much for being familiar as for being entirely unexpected. Each captures the full power of theater’s ability to lift us out of the toil and turmoil of our day yet still leave us deeply attuned to our connection to each other. It’s been two decades since it first conquered the world, but my first encounter lingers as an unforgettable experience at the theater and I can’t wait for Inspector Goole’s return visit.”
Hailed as the theatrical event of its generation, winning more awards than any other production in history, An Inspector Callshas thrilled more than 4 million people worldwide.
When Inspector Goole arrives unexpectedly at the prosperous Birling family home, their peaceful dinner party is shattered by his investigations into the death of a young working-class woman. His startling revelations shake the very foundations of their lives and challenge audiences to question their own consciences.
The production runs two weeks at the Emerson Cutler Majestic Theatre, located at 219 Tremont Street in downtown Boston. Tickets may be purchased online at www.ArtsEmerson.org, by phone at 617.824.8400, or in person at the box office.
March 1 – 30, 2019, in the Roberts Studio Theatre in the Stanford Calderwood Pavilion at the Boston Center for the Arts, 527 Tremont St. in Boston’s South End.ONCE
Nile Scott Hawver and MacKenzie Lesser-Roy Photo by Maggie Hall Photography
Based on the 2007 Irish film written and directed by John Carney, ONCE employs an exceptional ensemble of actor-musicians to tell the story of an unlikely romance between a down-on-his-luck Dublin street musician and a determined Czech immigrant who inspires him to dream. Featuring a book by Enda Walsh, and music and lyrics by Glen Hansard and Markéta Irglová, ONCE is a charming tale that reminds us of the importance of pursuing our dreams and the power music has to connect us all.
SpeakEasy General Manager Paul Melone will direct this production of ONCE. Winner of two Elliot Norton Awards for his direction of the musicals Bloody Bloody Andrew Jackson (2013) and Adding Machine: A Musical (2010), Mr. Melone also directed the company’s Boston premieres of Carrie: The Musical; reasons to be pretty; The Little Dog Laughed; Fat Pig; The Moonlight Room; Our Lady of 121st Street; and The Shape of Things.
Also on the artistic team are Steven Ladd Jones (music director) and Ilyse Robins (choreographer).
Nile Scott Hawver and Mackenzie Lesser-Roy will play the lead roles of Guy and Girl. Jacob Brandt, Billy Butler, Clara Cochran, Chris Coffey, Reagan Gardiner, Billy Meleady, Robert X. Newman, Marta Rymer, Stephen Shore, Jeff Song, Kathy St. George, and Ellie van Amerongen make-up the ensemble of actor-musicians.
ONCE got its start with a workshop production at the American Repertory Theater in Cambridge, MA in April 2011. The show then transferred to the New York Theatre Workshop where it opened in December 2011. Steve Kazee and Cristin Milioti originated the roles of Guy and Girl for this Off-Broadway production, which was helmed by John Tiffany. This same team took the show to Broadway, where it opened on March 18, 2012, winning 8 Tony Awards including Best Musical. Since that time, audiences around the globe have had the opportunity to enjoyONCE, which has played in Dublin, the West End, Australia, Seoul, South Korea, Toronto, and across the United States.
ONCE will run for five weeks, from March 1 – 30, 2019, in the Roberts Studio Theatre in the Stanford Calderwood Pavilion at the Boston Center for the Arts, 527 Tremont St. 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 .
KEITH HAMILTON COBB’S AWARD-WINNING EXPLORATION OF SHAKESPEARE, RACE, AND AMERICA RETURNS TO BOSTON
TWO WEEKS OF PERFORMANCES, APRIL 10 – 21, 2019 AT
THE EMERSON PARAMOUNT CENTER
Keith Hamilton Cobb Photos by C. Hovde and Chris Lang
ArtsEmersonwill host the return of the award- winning American Moorwritten and performed by Keith Hamilton Cobb, an urgent solo work examining the experience and perspective of black men in America through the metaphor of William Shakespeare’s character, Othello. The 2018 IRNE and Elliot Norton award-winning play received wide-spread acclaim from Boston audiences and critics – American Moorplays ArtsEmerson for two weeks of performances, April 10–21, at the Emerson Paramount Center Robert J. Orchard Stage.
American Moorchallenges the capacity of theatre to fulfill the human longing to be fully visible and embraced; it’s a show that poses the question “who gets to perform Shakespeare?” while exploring the inequities of life as a black actor and life as a black man. The Boston Globe’s Don Aucoin calls it “a deep-from-the-heart spellbinder [that] is ablisteringly eloquent and penetrating meditation on the ever-urgent matter of race in America
“Keith’s got something timelessly entertaining, powerfully urgent and deeply disruptive to say with American Moor,” says ArtsEmerson artistic director David Dower. “In his first appearance in Boston he struck a chord that still reverberates. Just like we’ve done with Daniel Beaty’s Mr. Joy, Melinda Lopez’ Mala, and with companies like Whistler in the Dark, Arlekin Players, and Bedlam, we’re delighted to create the opportunity for more people to experience an award- winning production. Keith and Kim have continued to evolve the show since last we saw it here, as well, so even its fans will find surprises that reward a repeat visit. With Oregon Shakespeare Festival’s Othello having just wrapped a visit to A.R.T., it’s a perfect time to confront the complexities of that play, its title character, and the American culture — Keith is absolutely burning to take us there.”
American Moorwas previously presented in Boston in 2017 by O.W.I 7:30pm
For more information: Online: ArtsEmerson.org Phone: 617-824-8400 In Person: Paramount Center Box Office, open Tuesday-Saturday from 10am-6pm (also open on Sunday 2/3 beginning at 12noon)
Argentina has not exported a lot of boxers, but the ones that have come from the land of Carnival have been very talented. In 1923 Lus Angel Firpo traveled to New York City to challenge Jack Dempsey for the heavyweight title. The Wild Bull of the Pampas was knocked out by Jack in the second round, but before being stopped he managed to knock Jack clean out of the ring.
Pascual Perez won an Olympic Gold medal in 1948 and went on to become the first world champion from Argentina when he won the title in 1952. Two other world champions would follow in his footsteps, middleweight Carlos Monzoon and light heavyweight Victor Galindez. Heavyweight contender Oscar Bonavena and light heavyweight Jorge Ahumada were also from Argentina.
All of these boxers were very skilled, withMonzoon and Perez often mentioned as all time greats. Each of them either won or challenged for world titles.
Gregorio Peralta was another Argentine who knew his way around a boxing ring. Born in 1935, Goyo began boxing as an amateur while in the navy. He won numerous titles before turning pro in 1958. Gregorio was immediately a rising star and very popular. In his first 16 bouts he was only defeated once and that was by decision to Justo Benitez. He would go on to defeat Benitez three times.
In his 17th bout, Peralta was matched with Peruvian Mauro Mina. Mina was arguably the greatest fighter to come from South America. Goyo was stopped in the 8th round. This was only one of three times he was stopped in what would be a career that consisted of 116 fights. He went on to defeat Mina in a rematch, being one of only three men to beat Mina and the only one to defeat Mina in his prime.His other stoppages were on cuts to Willie Pastrano in a title fight, and in the 10th round against George Foreman in their second fight. In almost 20 rounds against the much larger Foreman, Gregorio was never knocked off his feet.
Peralta had an educated left hand, that he put to good use while throwing jabs and hooks.
Gregorio Peralta was a very cagy boxer. He moved around the ring in a very relaxed fashion and used feints and head movement. Peralta had an educated left hand, that he put to good use while throwing jabs and hooks. He would often lead with the hook firing it from a straight up position similar to what Conn did in his first fight with Louis. Another tactic he used was to move in behind a jab and then step forward moving his right foot ahead of his left. This would put him into a southpaw stance for just a moment where he would unleash a combination. It was quite an effective strategy which he used in his first fight with Foreman. Always remaining loose, it was very difficult to hit him with a solid shot.
In 1963, after compiling a very solid record in South America, Peralta made his debut in the United States where he was matched against World Light Heavyweight Champion Wille Pastrano. The bout, held in Miami, was a non-title affair. Gregorio was very impressive while easily defeating Willie over ten rounds.
Pastrano and Peralta For The Title
He would then go on to defeat top contender Wayne Thornton twice before getting another match with Pastrano, this time for the title. The fight was held in the champion’s home town of New Orleans, and there was some controversy over how it ended. Peralta was reportedly ahead on points when he was cut over his left eye. The referee stopped the bout at the end of the fifth round. Peralta’s manager claimed the referee, while examining the cut, used his fingers to make it worse. Gregorio never made any excuses for the loss, only saying he felt he could have gone on.
In his next 43 fights Peralta suffered only one loss (to heavyweight Oscar Bonavena) but never got another chance at the title. It was a case of being too talented for his own good. Though he had begun to grow out of the light heavyweight division, he never became a full fledged heavyweight. Today he would be a cruiserweight.
Bonavena vs Peralta
He and Bonavena fought to a draw in a rematch which led to talk ofgetting a fight with then WBA Heavyweight Champion Jimmy Ellis. That certainly would have been an interesting fight and Goyo would have had a real shot at winning the title. Instead, he was matched with up and coming contender George Foreman. Big George had only 15 fights at the time, but was winning them in devastating fashion. He was also taller and heaver than Peralta.
On February 16, 1970, when Gregorio stepped into the ring to face Foreman, he looked more like an actor making his entrance onto the stage for a performance in a play by Shakespeare than a man about to engage in the most violent of sports. The Argentine with the movie star good looks had his hair carefully combed. He was calm and walked around the ring smiling. When introduced he took bows while holding his hand out. Maybe he thought he was at one of the Broadway Theaters. His performance after the bell rang that night would have certainly gotten him a Tony Award nomination as he put on a brilliant display of boxing skills.
Peralta Stepping Into His Southpaw Stance Against Foreman
Big George, as was his fashion back then, came out strong looking to end matters quickly. Goyo had other ideas and avoided Foreman’s charge likea matador avoids a bull. For the first five rounds Peralta relied mostly on his left hand. He was not dancing away from George as much as he was taking steps around him. Gregorio would throw quick hooks to the head and body and then clinch when things became dangerous, Peralta used his left hook and his switch to southpaw move to neutralize Foreman’s power. George was getting in good shots, many to the kidneys. Gregorio’s hooks to the body took some of the steam out of big George, but the future champ was still pounding away himself. In another nod to the stage, at the end of a number of rounds Peralta would take a bow and extend his arm out as if expecting an ovation for his performance. He deserved one.
In the fifth round Peralta opened a cut over George’s left eye. In the sixth round, Goyo started landing with his previously dormant right hand. It had turned into a very interesting fight, a classic between a wily old veteran and a powerful up and comer.
In the end, Peralta’s need to use defensive tactics to hold George off cost him the decision, though the crowd booed when Foreman was announced the winner. The decision was fair but the scoring was ridiculously one sided. It was a much closer fight than what the judge’s cards would have you believe. It was a marvelous performance by Peralta. It’s also a very interesting fight to watch.
The two would meet again seven months later, and this time Foreman would stop Peralta in the tenth round, but not before once again having difficulty with him.
Ali and Peralta In Barcelona
Gregorio would continue campaigning as a heavyweight. He moved to Spain where he beat Jose Manuel Urtain and Gerhard Zech among others. There was talk of a fight with Muhammad Ali but that never materialized; however; the two did put on an exhibition match in Barcelona.
As his career was winding down Peralta dropped a decision to Ron Lyle, and in his last fight Goyo fought a draw with Lyle. That was in 1973.
Eventually, he moved back to Argentina where he ran for political office. A soft spoken yet charismatic man, he was well loved in his home country. His final record in the ring stands at 119 total bouts, 98 wins (60 knockouts), 9 losses (3 by stoppage), and 9 draws, a remarkable career. He was one of those fighters who would have easily been a world champion if the timing had been better, though I get the feeling he might have preferred a career on the stage.
Gregorio Peralta answered his final bell on October 3, 2001. He was only 66 years old. The newspapers reported he died from heart failure brought on by other health issues. It was also reported he had been suffering from Alzheimers Disease, though it is more likely it was CET from his years in the ring. He should not be forgotten.
https://youtu.be/mXPSj9HaLJ8
A Delightfully Dark And Mesmerizing Feat Of Visual Storytelling
Created And Directed By Raphaelle Boitel
Photo Credit:Sophian Ridel
ArtsEmerson is hosting the New England premiere of When Angels Fall, a riveting tale of flightless angels surviving in the wake of a global collapse.
As a mesmerizing contortionist and aerialist herself, French creator and director Raphaelle Boitel’s storytelling is singular, and her ability to transform space in the air to the ground with large scale illusions along with bodies streaming across the stage is magical. Boitel brings her spellbinding visual storytelling (no words are uttered on stage) for five performances only, February 20-24, at the Emerson Cutler Majestic Theatre, 219 Tremont Street, Boston.
Blending circus, dance, and cinema, When Angels Fall is a dystopia where the resilience of the human spirit is pitted against the sterile and mechanical. Drawing inspirit from such disparate artists as Pina Bausch, David Lynch and her long time collaborator, James Thierree, This delightfully dark and entrancing theatrical premiere explores how the beauty of let go gives us the strength we need to rise. When Angels Fall will summon laughter and awe during its harsh descent from the heavens.
“I was delighted to discover the work of Raphaëlle Boitel on her last US tour,” says Artistic Director David Dower. “There is a freshness of voice and of spirit alive in her that charms and powers the deep, dark, hallucinatory beauty in her work. Boston audiences are well-versed in the elements she’s mixing to create her visually stunning and dream-haunting pieces. She’s combining aspects of circus, modern dance, and multimedia performance— but her results are entirely new to us. I am excited to introduce a fast-rising female-led company to the city.”
A Warm And Touching Story
Of Two Lives Connecting
Now Playing At ArtsEmerson
The End Of TV
By Kyle Vegter and Ben Kauffman
Created by Manual Cinema
Through January 27
ArtsEmerson
Emerson Paramount Theater
Boston
Reviewed by Bobby Franklin
Photo Credit: Judy Sirota Rosenthal
If you were to just sit and listen to the original music and lyrics composed by Ben Kauffman and Kyle Vegter that accompanies The End Of TV, that alone would be a pleasurable experience. But having that music along with the story that grew from it makes for an incredible evening of theatre.
Now being presented by ArtsEmerson at the Paramount Center in Boston and created by Manual Cinema, The End Of TV is certainly one of the most original works you will see this season. Combining that sublime score with visual effects that include shadow puppets, overhead projectors, actors performing in silhouette, and a touching and moving story, it leaves you with 75 minutes of theatre that is deeply moving.
The story, set during the 1990s in the Rust Belt, focuses on Flo (Kara Davidson), a retired factory worker who spends her days watching home shopping channels on her TV, and Louise (Sharaina L. Turnage), a recently laid off factory worker who has taken a job working for Meals On Wheels. Flo is slipping into dementia and her world is her television set. Louise is working to reinvent her life.
Photo Credit:Judy Sirota Rosenthal
Louise meets Flo while delivering meals to her, and at first their contact is brief, limited to the time it takes Louise to drop off Flo’s dinners. The two actors have no lines and are seen in silhouette projections on a screen hanging above the stage. The audience can see what is going on behind the scenes as the actors work in front of backdrop where their actions are captured and projected onto the overhead screen. The story is told with these images along with shadow puppets and scenes from television. It is remarkable to see the large array of emotions and expressions that are conveyed by the actors’ body movements. The lack of dialog and facial expressions actually enhances the emotional effect. A simple wave of the hand as a greeting gives the sense of connection that is building between the two women. It is fascinating to watch.
The only dialog is from the actors portraying the people from the home shopping channel and 1990’s TV programs who are also projected onto the screen. There are even appearances by the Jolly Green Giant. The five piece orchestra is on stage throughout the performance. The sound from a television can be heard throughout giving us the feeling of what it is like to be living in Flo’s world.
We also learn about Flo and Louise through flashbacks. Flo had worked in the factory during WW II. It appears it is the same factory Louise was laid off from. Both have had ordeals to overcome, and I was struck by the quiet strength of each.
The bond that grows between the two during the brief visits by Louise shows how important even a simple gesture of kindness can be. The fact that this is being done through silhouettes and without words makes it all the more touching.
Photo Credit: Judy Sirota Rosenthal
Discussing the subject of aging and the onset of dementia can make people very uncomfortable in today’s society. Not so in The End Of TV. There is a raw honesty to this work that allows us to watch and understand what happens in life as the aging process sets in. Seeing how much simple acts of kindness can mean to a person shows the importance of being connected to one another. And this is not just about what Louise does for Flo, but it also how Louise finds strength and hope in communicating with Flo.
While dealing with sad topics, this is not a sad play; It is heart touching and hopeful. The use of shadow puppets interspersed with the actors give it a childlike innocence that helps to simplify the complexities of the story. The warmth that comes from witnessing Flo and Louise connecting serves to remind us of our capacity for kindness and understanding, something that we tend to lose touch with in this fast paced world. There is so much to be given to and learned from one another. In my mind I still have the image of Flo and Louise gently waving to one another, so simple yet so very moving.
After the performance, the audience is invited onto the stage to speak with the actors and to see how it was all done.
Creative, unique, fascinating, humorous and touching, this is a work that will capture your heart. The End Of TV is one of the high points in a very rich Boston theatre season. It is a beautiful work and I highly recommend it.
For more information:
617.824.8400
artsemerson.org
Seaglass Chorale Seeking Singers For Upcoming Concert
Seaglass Performing Arts Chorale, conducted by Artistic Director and Founder Jean Strazdes, is seeking singers to join its musical community in preparation for its 2019 concert performance of Carl Orff’s Carmina Burana. The April 28, 2019 performance will be the premiere concert at the new Performing Arts Center at Sanford High School in Sanford. The Chorale will be collaborating with the Chamber Singers of Sanford High School under the direction of Jane Kirton.
The first rehearsal for Carmina Burana will be at 5:30 pm on Sunday, January 13th, at Holy Cross Lutheran Church on Storer Street in Kennebunk.
For more information, stop in on Sunday, January 13th, or call 985-8747. You can also check their website at seaglassperformingarts.org or visit us on Facebook.
Seaglass Chorale is a non-auditioned chorus.
Seaglass Performing Arts
Post Office Box 265, Kennebunk, ME 04043 Seaglassperformingarts.org
Seaglass is a 501c3 non-profit organization
Cast Of Small Mouth Sounds (Photo Credit: Nile Scott Studios)
As Bess Wohl’s unique play Small Mouth Sounds now playing at the SpeakEasy Stage begins, six people arrive at a resort in the country for a “silence retreat”. The set is a yoga studio with a small platform toward the rear with six chairs. As each participant arrives they take a yoga mat and find some space on the floor. With the exception of two friends who arrived together, they have never met before. There is some dialog at first, but then the “Teacher”who remains unseen throughout the play speaks to them via a speaker. They are given a list of rules that include no talking for the time they are there. This makes for an original, funny, and touching play. Her telling of the Frog Parable is a riot.
With few exceptions, the actors perform without speaking a word. They do not do mime, but rather resort to doing what we all would do; they improvise ways of communicating without speaking. At times this is like being in a country where you don’t speak the language and are asking for directions. Beyond that, they also convey emotions with body language and facial expressions, some are extremely funny, others very touching.
Ned (Nael Nacer) and Rodney (Sam Simahk) Photo Credit: Nile Scott Studios)
Watching as they struggle to at first overcome the awkwardness of sharing space with strangers, something that goes with gatherings such as this, while not being allowed to communicate is a bit uncomfortable. It is something we have all had to deal with at one time or another, though usually not with the restriction on speaking. Of course, awkwardness does make for funny moments. Angry, puzzled, and inquiring looks are exchanged. The personalities of the characters are quickly revealed, while the emotional suffering that brought each one there is not brought out until much later.
Ironically, the one character with the most lines, the Teacher (Marianna Bassham) remains unseen. The tone of her voice moves from New Age guru to prison warden to frustration and emotional pain throughout the play. The one who is there to teach how to deal with inner turmoil has much of her own.
The name of only one of the six characters was revealed in the course of the play, but they are all named in the program. There is Ned (Nael Nacer) who never takes his hat off, there is a reason for this that is part of his story, Joan (Kerry A. Dowling) and Judy (Celeste Oliva) who have come together and are dealing with stress to their friendship/relationship. Jan (Barlow Anderson) who at first doesn’t appear to be suffering, Rodney (Sam Simahk) a Youtube yoga celebrity who is going through relationship issues, and Alicia (Gigi Watson) who is young and vulnerable while dealing with a breakup. It is quite remarkable to witness how each is able to convey so much about their character while not speaking. There is a particularly touching moment when Jan reveals to Judy the reason for his suffering. He does this with one simple gesture and yet it is incredibly moving.
The entire cast is excellent while Nael Nacer is just wonderful with his many facial expressions and body movements. I would describe him as a clown in the best definition of the term in that he gives such a broad array of emotions while not speaking. His performance is top notch, and while not speaking, he is also the one character outside of the Teacher, who does have a scene where he speaks to some extent. It is a revealing talk about what brought him to the retreat.
There is much that is funny in Small Mouth Soundsas well as much that gives reason to reflect.
There is much that is funny in Small Mouth Sounds as well as much that gives reason to reflect. The idea of taking an extended period of time away from distractions such as our electronic devices as well as not being allowed to communicate verbally is really quite a daunting thought in our 24/7 social media world. While there is much to laugh at in the play, I sense that to a certain degree the audience laughter comes from their own feelings of discomfort with the silence.
While Small Mouth Sounds is somewhat of a parody of New Age style retreats, it is also a reminder that maybe we should spend more time in quiet thought and accept that we can be comfortable with ourselves while facing our inner pain.
Director M. Bevin O’Gara must have felt it a challenge to direct a work that relies almost entirely on body language, but she pulls it all together. Whether you are comfortable sitting in the lotus position on a yoga mat or think this sort of stuff is only for granola eating Cambridge types, you will enjoy this play. By the conclusion you will not be able to help yourself from doing some self reflection. You’ll also be smiling and glad you saw moving and thoughtful play.
Marlon Starling Interviewed by Mike Silver for Boxing Over Broadway
Marlon Starling
Former welterweight champion Marlon Starling was the fifth boxer from Connecticut to win a world title. Louis “Kid” Kaplan, Pinky Silverberg, Batt Battalino and Willie Pep all won their titles during the golden age of Connecticut boxing from the 1920s to the 1940s. During that time the “Nutmeg State” was home to many other outstanding boxers including Lou Bogash, Ted Lowry, Chico Vejar, Julie Kogon, Johnny Cesario, Vic Cardell, Larry Boardman and Bernie Reynolds.
Marlon Starling is far removed from that era, nevertheless he could accurately be described as “old school”. There were few soft touches during his ascent to the title. He accomplished his goal the old fashioned way—he earned it. Along the way be became one of the top professional boxers of the 1980s.
Before turning pro Marlon reportedly won 97 of 110 amateur bouts. His professional career spanned 11 years (1979-1990). He lost only 5 of 52 professional fights and stopped 27 opponents.Only one of his five career losses (all by decision) resulted in a unanimous verdict. He drew in two other bouts.
In an era of tough welterweight competition Marlon Starling stood out among his peers.
Marlon won his first 25 fights before losing a split 12 round decision to future welterweight champion Donald Curry in 1982. He defeated his next six opponents (flattening four of them) and looked very impressive stopping hard punching Jose Baret and outpointing Kevin Howard over 12 rounds.
The rematch with Curry for the world title resulted in another decision loss for Starling. The Dallas hotshot seemed to have Marlon’s number. But showing the patience and persistence that was the hallmark of his stolid fighting style Marlon got back on track with wins over Lupe Acquino, Floyd Mayweather, Sr., Simon Brown and Pedro Vilella.
In 1987 he defeated Mark Breland in a torrid battle for the WBA welterweight title, stopping the former Olympic champion in the 11th round. Less than a year later he won the WBC welterweight belt with a 9th round TKO of England’s Lloyd Honeyghan.
Moving up in weight Marlon challenged IBF middleweight champion Michael Nunn but lost a majority 12 round decision. Four months later, on August 19th, 1990, in the final fight of his career, Marlon lost the welterweight title to Maurice Blocker via another majority decision.
In an era of tough welterweight competition Marlon Starling stood out among his peers. Let’s read what he has to say about his career.
Interview:
Mike: Marlon, let’s start by talking about some of your most important fights. In 1982 you lost a split 12 round decision for the North American welterweight title to Donald Curry. It was your first loss in 26 professional fights. A year later you lost a 15 round unanimous decision to Curry, this time for the world title. Was he your most difficult opponent?
Marlon: Not difficult. Donald Curry was my most challenging opponent. That’s because Donald was a boxer like me. He did nothing great, but everything good. That was the kind of fighter I was. It was like fighting a mirror image of me. I mean he wasn’t a dynamite puncher. He didn’t have a great hook, didn’t have a great left jab, but everything was good.
Mike: Often when boxers have similar styles it doesn’t make for an exciting fight. In fact, the New York Times reporter called it a “dull” fight.
Marlon: I believe I won that first fight. I mean I didn’t get the decision but I know in my heart I won that first fight. But at the time Don Curry was a big Bob Arum fighter so he got the decision. The second fight was a different story. I lost that second fight more than he won it. Curry prepared himself better than I did for the second fight, even though I was prepared. He won a very close 15 round decision. My trainer kept saying ‘back him up, back him up’. But the problem was I couldn’t back him up. He was a little stronger than me in that fight. So he retained the title. I got out of the ring that day and for the first time in my career, maybe after 30 fights, said to myself ‘Wow, that guy beat me!’ And that was something that was tough for me to cough up.”
Mike: You didn’t let that defeat slow you down. Over the next two and a half years you won 10 of 12 fights culminating in your 11th round TKO victory over Mark Breland on August 22, 1987 for the welterweight championship. Before turning pro in 1984 Mark Breland had won every amateur title including an unprecedented five New York Golden Gloves championships and an Olympic gold medal.
Marlon: I knocked him out but I still got the worst ass whippin’ I ever took. His jab hurt like most guys right hand, and he was hitting me with that jab. His jab broke my nose. I should have boxed the man, worked my way in, feint the man, and do all this, but at the time I wanted that world championship. I got it, but I had to pay to get in. My strategy was to wear him down with body punches. Once I got inside I was banging that body. I didn’t like to pay the price but I had to.
Mike: You also had a huge edge in professional experience—45 pro fights and 287 rounds to his 18 fights and 76 rounds. And you had fought tougher competition.
Marlon: Yes, my experience was a factor but also my professionalism, my conditioning and my willingness not to quit. But you know what? Mark Breland became one of my best friends. We talk every other week. He is a good man. I respect him to the utmost.
Mike: You fought a rematch with Breland eight months later that ended in a 12 round draw. Most observers thought you deserved the decision.
Marlon: Mark was a bit better in the second fight. I was better too and got hit less this time. I deserved to win that fight but he was an Arum fighter and they didn’t want him to lose.
Mike: Your victory over Breland won you partial recognition as welterweight champion. England’s Lloyd Honeyghan had defeated your nemesis Donald Curry two years earlier and was recognized as champion by a rival sanctioning group. In early 1989 you and Honeyghan met to unify the title. You stopped him in the 9th round.Tell me about that fight:
Marlon: Now Lloyd Honygan was a whole different ball game. I knew I was going to beat him up.
Mike: I recently watched a tape of the Honeyghan fight and you weren’t doing much for the first 3 or 4 rounds. Was that part of your strategy?
Marlon:The first two rounds I was just getting his technique…see what he’s doing…getting his timing down…getting his moves down. Lloyd was a good puncher but what good is a puncher if he ain’t gonna hit you? It’s all about hit and don’t get hit. I didn’t want to get careless. One time I did get careless and he hit me on top of the head and buckled my feet a little bit. Lloyd was a southpaw and every time he threw that right jab I’d counter with a right cross. If I showed him a feint and he put that left hand out I countered with the right. By the 5th or 6th round if I said jump he’d jump. He was actually waiting for it to happen. I mean by the 5th round I had this guy scared to punch. I was not what you’d call a knock out fighter but I’d get your attention with everything I’d throw.
Mike: Honeyghan had a big reputation coming into that fight, running up a string of impressive victories including a TKO of Donald Curry. Do you consider the Honeyghan fight your greatest career accomplishment?
Marlon: Most fans would think that but Lloyd Honeyghan was one of my easiest fights ever as a professional. I mean he played right into my hands. Maybe I was just so eager and wanted to get him so bad. I was sharp that night. I would rather get knocked out than take a beating like he did. Nobody needs to take a beating like that. I know he wore that fight for a long time.”
Mike: About a year after your victory over Honeyghan you put on 10 pounds and challenged middleweight champion Michael Nunn. You lost a 12 round decision. That was the only time you ever fought as a middleweight.
Marlon: I was at the point where I said to myself there is nobody else in the world that can beat me at welterweight so I moved up a weight class to fight Nunn. What did I have to lose? He wasn’t a big puncher and I believed I could beat this guy even though he was undefeated and a southpaw. But he was a little quicker than I thought and a lot taller. That’s not an excuse why I lost that fight. In the middle of the third or fourth round I had him in the corner and I took my gloves and I like dug them into his face and he said to me, ‘c’mon man fight fair’. I decided to just get in there and box him.I turned the fight into a sparring session. I didn’t go get him like I should have. That particular day he was a little sharper than I was. He won that fight because he worked harder. But you know what? After the fight we went out and had dinner together.
Mike: Who trained you?
Marlon: My first trainer was Johnny Duke. He trained me as an amateur and in my early years as a pro. For a little while Eddie Futch trained me but we had a falling out and I let Eddie go. After that Freddie Roach, who worked with Eddie, became my trainer. But for most of my career my trainer was Marlon Starling. They just had to keep me in line with the training regimen. Whatever happened in my career happened for a reason. When I got with Freddie I finished with Freddie. He didn’t have to do a lot to get me ready—just sharpen me up. We were friends.
Mike: What do you think of today’s top fighters? Do any of them stand out?
Marlon: I watch the fights on TV now and then but I couldn’t tell you. There are too many champions. If one of them walked by me I would ask ‘who was that?’ I mean when I was fighting I knew everybody in the top ten. Now I don’t know who they are. That doesn’t mean I’m trying to degrade anybody. I just don’t know. But from what I see when I do watch the fights a lot is missing. They have a title but they don’t have the skills.
Mike: What is missing?
Marlon: I don’t see things that they should have been taught to do years ago. Listen, you can win a title with a three punch combination— left jab, right cross, left hook. You don’t see too many people throwing that combination. You don’t even see a double jab. If you throw a punch you have to bring it back from where you threw it, because if you don’t I’m going to make you pay for it. If you throw that right hand out you’ve got to bring it right back to your face. A lot of times I see a fighter throw the right and it comes back to his chest. I will counter punch you all day if you do that. You’ll be afraid to throw punches if I was in the ring with you. If all you know is “fight” I can beat you. I’m not going to fight you. I’m going to box you and win. Most of the guys when under pressure all they know is “fight”. They don’t know the professionalism of being a good boxer. Anybody could fight. Dogs fight. You’ve got to outthink the other fighter. What I mean by outthink is that sometimes you have to outfight your opponent. I’m not fighting with a guy that punches like hell. I’m going to box you, until you get tired, and then I’m going to fight you. I was a thinking fighter. I didn’t fight the fighters and I didn’t box the boxers.
“Today’s boxers have more toughness than knowledge. You can be tough. I love to fight the tough guys because they don’t have the knowledge. A good right hand, a good jab, and a good left hook. You have those three punches you can go places. If you don’t have a great jab it’s like training with one arm. Everything works off the jab, at least as far as I’ve been taught.”
Mike: I noticed in reviewing your fights that you rarely got trapped on the ropes or in the corner.
Marlon: Ring generalship. Like I told people – ‘this is my house (the ring)’. I live here. I know that square. I got radar in back of me telling me ‘you’re coming close to the ropes, you’re coming close to the corner.’ You had to know these things.”
Mike: You were very strong at 147 pounds. You had huge shoulders and a powerful physique. Many fighters today lift weights to increase strength. Did you ever lift weights as part of your training routine?
Marlon: No, never. You know lifting weights tighten you up. I got most of my strength and power from punching the bag and training.”
Mike: You were sometimes criticized for showboating during a fight. In fact, your occassional clowning may have cost you the first Curry fight. Did you do it to play to the audience or confuse your opponent?
Marlon: I don’t showboat. It’s all right if you do a move and knock the guy out– then it’s all right. But if something doesn’t happen then you’re accused of showboatin’. Sometimes it’s just in your rhythm. You couldn’t tell me ‘Oh Marlon do the Starling Stomp.’I mean it wasn’t planned.I was just in the moment. Emotions come with this sport. I wasn’t trying to showboat. I was just trying to be me trying to get what I can get out of this guy.
Mike: In 1980, in only your sixth pro fight, you had the misfortune of fatally injuring your opponent Charley Newell. He never recovered from the brain injury and passed away nine days later. In spite of this tragedy you made the decision to continue with your career.
Marlon: I had previously fought him in an amateur fight when he was in prison. Charley Newell was a bully on the street but to me he wasn’t a bad person. We fought at the Civic Center in Hartford. I think it was January 9th. I hit him with a combo and knocked him out. I was working a job at that time and I went to work the next morning and I got a call that Charley Newell had passed away and that really bothered me. My parents always worried about what’s going to happen to me. I never worried about it. I came back for his funeral and his parents came up to me. His mother said to me ‘my son passed away doing something that he loved to do, don’t ever stop what you want to do.’ What she told me gave me the confidence to continue with my career.
Mike: Tommy Hearns was welterweight champion while you were an up and coming prospect. You weren’t ready to take him on but you did spar with him while he was preparing for the Sugar Ray Leonard fight in 1981. What did you learn from that experience?
Marlon: I got an offer to go to Vegas to work as a sparring partner and help Hearns get ready for Leonard. It was an opportunity for me to see what I could do with the ‘big boys’ out there. I sparred with Tommy and he broke my jaw but they knew I got the better of that sparring session. How do I know? They kept Milton McCrory far away from me after that. (Author’s Note: Milton McCrory, a future champion, was Hearns’s stablemate and a rising star in the welterweight division).
Mike: A few years after that sparring session you were ready to challenge Hearns or Leonard but you never fought them. Why not?
Marlon: Marlon Starling fought everyone out there.The reason why I didn’t fight Leonard or Hearns is because my name wasn’t that big. I trained with Tommy but they just didn’t want to take a chance and give up something they had. That’ why they didn’t fight me…they couldn’t make a lot of money fighting me.
Mike: Marlon, you lost the welterweight title to Maurice Blocker in your very last bout on August 19, 1990. The 12 round majority decision was very close and could have gone either way. You were only 30 years old and still a top rated welterweight. Why did you decide to retire?
Marlon: I don’t think he won but it wasn’t one of my best fights. I quit the ring because the promoters and managers were making more money than me and they weren’t taking the punches.
Mike Silver is the author of The Arc of Boxing: The Rise and Decline of the Sweet Science and Stars in the Ring: Jewish Champions in the Golden Age of Boxing. Both books are available on Amazon.com.
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https://youtu.be/bT4yLUffLw8
https://youtu.be/c43p_ym2zG4
Merrimack Repertory Theatre (MRT) will present the world premiere of The Heath by Lauren Gunderson, one of the most produced playwrights in America (Silent Sky, I and You, Miss Bennet: Christmas at Pemberley) from February 13 to March 10 at the Nancy L. Donahue Theatre at Liberty Hall, according to Artistic Director Sean Daniels and Executive Director Bonnie J. Butkas. 
