Three-time Tony Award-winning actress, singer, and dancer Chita Rivera performs for one night only alongside music director and host Seth Rudetsky on Saturday, October 13 at the Calderwood Pavilion at the BCA at 5pm and 8pm. Produced by Mark Cortale Productions, the performance is the first in the new “Broadway @ the Huntington” series.
The show is an unscripted mixture of music and intimate, behind-the-scenes tales of Ms. Rivera’s career, prompted by questions from Mr. Rudetsky, who hosts “Seth’s Big Fat Broadway” and “Seth Speaks” on Sirius/XM Satellite Radio’s “On Broadway” channel.
Ms. Rivera will perform hits from her vast musical theatre repertoire, which includes originating the roles of Anita in West Side Story (prem. 1957), Rose Grant in Bye Bye Birdie (1960), and Velma Kelly in Chicago (1975). She also has appeared in Broadway productions of Can-Can (1953), Bajour (1964), Merlin (1983), Jerry’s Girls (1985), and Nine (2003), as well as her autobiographical show Chita Rivera: The Dancer’s Life (2005). Ms. Rivera earned 10 Tony Award nominations and won Tony Awards for her performances in The Rink (prem. 1984) and Kiss of the Spider Woman (1993). She most recently originated the role of Claire and was nominated for a Tony Award in the Kander-Ebb-McNally musical The Visit, which premiered on Broadway in 2015. Ms. Rivera received the Lifetime Achievement Tony Award in 2018 and the Presidential Medal of Freedom from President Barack Obama in 2009.
Chita Rivera and Seth Rudetsky
“I’m delighted to welcome Chita Rivera, a true Broadway legend, to the Huntington,” says Artistic Director Peter DuBois. “Her career spans the modern Broadway history, and she has created so many iconic roles in the musical canon. This show is a once-in-a-lifetime chance to hear theatre history from a woman who, quite literally, helped make it.”
Saturday, October 13, 2018 at 5pm and 8pm
The Huntington’s Calderwood Pavilion at the Boston Center for the Arts , 527 Tremont Street, Boston
Written By Jen Silverman and Directed By Spiro Veloudos
Runs Through November 18
Paula Plum and Adrianne Krstansky
Sharon, middle-aged and recently divorced, needs a roommate to share her Iowa home. Robyn needs a place to hide and a chance to start over. But as Sharon begins to uncover Robyn’s secrets while sharing music, books, and an occasional toke, she discovers a deep-seated desire to transform her own life completely.
It’s a subversive, absorbing comedy about what it takes to re-route your life –and what happens when the wheels come off.
Written by Jen Silverman, this production is directed by Spiro Veloudos.
The Roommate runs from October 19 through November 4.
Lyric stage, 140 Clarendon Street, Copley Square, Boston
In 1958 Eddie Machen was the leading contender for the heavyweight championship held by Floyd Patterson. Machen was undefeated and held victories over such men as Joey Maxim (twice), Nino Valdes, Bob Baker, and Tommy Jackson. Of course, having a strong claim to a title shot during the reign of Floyd Patterson was a sure way of never receiving one. The leading contenders of the day were routinely bypassed in favor of inferior opposition.
While the top contenders included men named Liston, Valdes, Pastrano, and Folley, Patterson’s manager Cus D’Amato opted instead for bouts with the likes of unranked Roy Harris, Pete Rademacher (he was making his pro debut in his title shot), Brian London (whose ticket to Floyd was a loss to a young Henry Cooper), and Tommy Jackson (Floyd had already defeated him before becoming champion). It was truly a dark time for the heavyweight championship.
Meanwhile, over in Sweden a young star was making some waves. His name was Ingemar Johansson and he was undefeated. Ingo was scoring knockouts with a lethal right hand that was known as “Ingo’s Toonder”. His record was impressive but not his opposition. He had won the European Heavyweight Championship when he kayoed Franco Cavicchi in the 13th round.
His other notable wins were a 10 round decision over Brit Joe Bygraves, a one round kayo of Hein Ten Hoff, a 5th round knockout of Henry Cooper, and a decision win over American Archie McBride. None of these opponents were near the quality of Machen, Liston, or Folley. Also, Ingemar had not been seen by fans in the U.S., so he was truly an unknown quantity. On top of this, ever since Tommy Farr had given Joe Louis a very tough go of it in his title challenge, European Heavyweights had not been taken seriously.
What happens next in the heavyweight division is something that is worth looking into. It is 1958 and we have Eddie Machen as the top contender. He is undefeated in 24 fights with 15 knockouts. In any other era he would have received a well deserved title shot. But the title is now controlled by D’Amato and he is having nothing to do with signing Floyd to fight a serious opponent. Machen now signs to fight number two contender Zora Folley, another deserving contender. The two fight to a draw. Meanwhile, Patterson bypasses both men and takes on Harris and London instead. A disgrace.
After the Folley fight Machen is offered a match against Ingemar Johansson in Sweden. The fight doesn’t make any sense for Eddie other than it would be a decent payday, but number one contenders do not look for decent paydays, as the ultimate payday is winning the crown. Why would he take on an unknown quantity such as Johansson in Ingo’s home town and risk everything, while having nothing to gain?
For years it was thought Machen took a dive in the fight. When I was young that was the word among all the knowledgable fight people. The story was that D’Amato’s people, and he had some very shady people around him, had told Machen that if he lost to Johansson they would guarantee him a title shot later on. This was not unprecedented. Jake LaMotta had agreed to such a deal when he fought Billy Fox. He threw the fight and did get a title shot in return.
Why would D’Amato want Ingo to win? In Ingo he saw the potential for a big draw with little risk of Floyd losing. He had heard Johansson was another slow moving European heavyweight who would pose no threat to Floyd. His undefeated record would make good copy for publicity, and a win over Machen would give him number one contender status, a status none of Floyd’s previous challengers had ever come near to having.
The story gets really interesting here. Machen travels to Gothenburg and is knocked out in one round. Word in the States is Eddie took a dive. Movies of the fight were not distributed here so the rumors were easy to believe. It wasn’t until decades later that footage of the bout made its way to the U.S.
Looking at the film you see that not only did Ingemar legitimately kayo Machen, he nearly killed him. At the opening bell both fighters came out tentatively. Machen was standing straight up in a classic boxer’s stance throwing left jabs. Johansson was moving very quickly on his feet and circling Eddie while pawing with his left jab. About a minute into the fight, Ingo landed a tremendous right hand that dropped Machen. Eddie struggled to his feet and was dropped again by an Ingo right. He went down hard but managed to get to his feet. The fight should have been stopped here, but the “courageous” referee let it continue. Machen was driven to a corner and sank half way down while Johansson pummeled him mercilessly. The referee stood idly by. Finally, Machen fell to the canvas unconscious. It was as brutal a knock out as you will see.
It looks as if this proves the fight was not fixed, right? Well, no. The fight could have been fixed and at the same time Johansson could have legitimately knocked out Machen. You see, Eddie would have been planning on losing a ten round decision. He would fulfill his end of the bargain and eventually get a title shot, though I very much doubt that would have happened. At the same time, Ingo proved to be much better than anyone believed and he was too much for Machen. His Toonder was the real thing. It ends up Machen ws knocked out before he could throw the fight.
Now, another question arises. If D’Amato was so hell bent on avoiding serious competition for Floyd, why would he now agree to have him defend against Johansson? Not only did Ingemar prove he could fight, he also showed he had one of the hardest right hands in heavyweight history. Cus would have taken Floyd and run for the hills to get away from him. If things had followed their usual M.O. it would have been Machen who would have been more likely to get a title shot after having been destroyed.
I believe D’Amato never saw a film of the Machen v Johansson bout. He believed Machen lost as planned, though made his exit sooner than expected, and still figured Ingemar was an inferior opponent. Looking at how Cus managed Patterson it makes no sense he would have signed to fight Johasson after what he did to Machen. This was one time when Cus outsmarted himself, as Ingo took the title from Floyd in his next fight. Not only did he win the title but he destroyed Patterson in much the way he did Machen, only in this bout it ended in the third round.
There is one final question that begs to be answered. If Machen was going to take a dive anyway, why didn’t he just stay down after the first knockdown? That’s easy to answer. Eddie was a pro with tremendous heart. He was seriously hurt when he went down the first time. It is likely he no longer knew where he was and began fighting on instinct, and his instincts were those of a courageous fighter. If you look at the film of the fight you will see Machen sitting in his corner after being stopped. He is seen mouthing the words “What Happened?” When his seconds respond you can read his lips again and see him saying “Really?”
And what did really happen? We’ll never know for sure, but I think the evidence backs up my theory.
Jersey Boys debuted in 2005 and was an immediate hit. I am probably one of the few people who had not seen it before taking it in at the Ogunquit Playhouse the other night. As the old saying goes “Good things come to those who wait”, and what I witnessed was beyond good.
Of course, being of a certain age, I was very familiar with the music of the Four Seasons. Their unique sound was something I grew up with and have never tired of hearing. That music is all included in Jersey Boys, along with the very interesting, and very 1950’s, story of how the group came to be. It is a story that takes us from the street corners of New Jersey to clubs, bowling alleys, the back seats of cars, recording studios, and the Brill Building. Disc jockeys, gangsters, loan sharks, and record producers are all part of the story.
Director Holly-Anne Palmer points out in the program that a Rashomon approach is taken to telling the story, with each member of the group taking a turn giving their version of events. The segments where each member takes over the narration are divided by season, with wisecracking Tommy DiVito (Matt Magnusson) starting things off in Spring. He is followed by song writer Bob Gaudio (Andy Christopher) in Summer, Nick Massi (Matthew Amira) bringing us Fall, and Frankie Castelluccio, make that Frankie Valli (Jonathan Mousset) ending with Winter. Each actor brings us the differing personalities of the four members of the group along with the varying views of events each had. It makes for a fascinating story, or perhaps I should say stories.
While the tale of the four young men from New Jersey who escaped from a criminal past and dealt with financial troubles, conflicts among themselves, and family tragedy, is told with much depth, emotion, and humor by these fine performers, it is the music that evokes a tremendous audience response. No, this is not a tribute band performance, and don’t get me wrong, the story is a major part of what makes this so good to see. The songs contain even more power when enhanced by learning how it all came to be.
I was very much taken with the constant energy displayed during the production. Set changes happened without a pause as props were moved on and off the stage without the action skipping a beat.
…a super high energy evening of music and theatre.
Nearly three dozen songs are performed and each one is enhanced by the amazing lighting and framing the production team has put together. The colors are amazing. Neon style signs, wonderful costumes, and terrific choreography add a strong touch of the spectacular to songs such as , Sherry, Big Girls Don’t Cry, Walk Like A Man, and Rag Doll. Jonathan Mousset really brought the house down with Can’t Take My Eyes Off Of You. In fact, the audience leapt to its feet after many of the numbers during the show. I could feel the anticipation people had before each song began, and their excitement as soon as the first few notes were played. This is a super high energy evening of music and theatre.
Photo credit: Gary Ng
Jersey Boys brings us back to a different time without getting overly nostalgic or sappy. While the story is predictable, what works here is the way the actors give us the strong insight into each of the character’s personalities. By the end of the play you will have experienced how we all see things through our own individual lens. It is also interesting to see how people with so many differences can still work together to accomplish great things. There was a synergy between the cast and the audience that filled the theater with excitement all evening.
Frankie Valli and The Four Seasons had a very original sound that has held up through the decades. While their music is in the “Golden Oldies” category, there is nothing moldy about it. Listening to it performed live reminded me of just how fresh and original it still is.
The Ogunquit Playhouse is closing out its 86th season, one of its best, in great form. Jersey Boys is not to be missed. You would be hard pressed to see a better production of this very exciting play anywhere. I do know tickets have been selling strong for this all summer. Fortunately, it runs through October, so you can take advantage of the off season rates if you want to stay in Ogunquit. Fall is a beautiful time in southern Maine.
When it comes to summer in Ogunquit Let’s Hang On To What We’ve Got! And there’s no better way to do that than with Jersey Boys.
Boxing:Marvin Hagler vs John Mugabi (Orig. Cov. Date 3/24/86) Credit: Manny Millan SetNumber: X32793 TK1 R9 F20
Things never came easy for Marvelous Marvin Hagler. Joe Frazier once said to him “You’ve got three things going against you; You’re black, you’re a southpaw, and you are good”. Joe was right. Marvin had to do it the hard way.
Even before he won the title Hagler was taking on the toughest middleweights in the world, and he was doing it for short money.
Even before he won the title Hagler was taking on the toughest middleweights in the world, and he was doing it for short money. In his fourth fight he took on local rival and outstanding amateur star Dornell Wigfall over whom he won a decision. He would win by a knockout in a rematch.
In his 15th fight he beat Olympic Gold Medal winner Sugar Ray Seales. In a rematch in Seales’s hometown Marvin would be given a draw in a fight Marvin won easily, and in a third match in Boston Hagler removed all doubt by destroying Seales in one round.
Marvin would go on to beat the undefeated knockout artist Johnny Baldwin. After that fight, promoter J. Russell Peltz invited Hagler down to Philadelphia to try his hand against the best fighters the City of Brotherly Love had to offer. He took on Bobby Boogaloo Watts and lost a highly disputed decision. Next was Willie The Worm Monroe who beat Marvin fair and square though Hagler would come back to kayo Monroe in two rematches.
There were more victories against the likes of the murderous punching Eugene Cyclone Hart, Bennie Briscoe, Mike Colbert, Kevin Finnegan, and Doug Demmings. Remember, these fights were all before the Marvelous One had won the title.
In fact, it wasn’t until his 55th bout that Hagler finally got a shot at the title only to be the victim of a terrible decision when, after clearly winning over fifteen rounds, the judges called his bout against Vito Antoufermo a draw.
Hagler would have to wait a year before getting another title shot, this time against the new champion Alan Minter. Marvin left nothing to chance by destroying Minter in the third round and finally, finally taking possession of the title.
Marvelous Marvin would successfully defend his title 12 times against the best and only Roberto Duran was able to last the distance with him.
Out of those defenses the one most talked about was his war against Tommy Hearns in which Marvin stopped the Motor City Cobra in the third round of one of the most exciting fights in history.
After that fight Hagler would make one more defense of the title before his showdown with Sugar Ray Leonard in 1987. It is that fight against John “The Beast” Mugabi that has somehow become lost when talk of Marvin’s career comes up. That is a shame because it very well may have been his finest hour. It also may give some clues to why Marvin fought the way he did against Leonard.
John Mugabi, from Uganda fighting out of England, was a natural boxer/puncher. He had incredible power in both hands and was also blessed with a chin made out of iron. He had earned a shot at Halger by beating a number of other up and coming middleweights and doing so in impressive style, knocking out all 25 of his opponents.
The fight took place on March 10, 1986 outdoors on a cool evening in Las Vegas. While Mugabi did not have anything matching Marvin’s experience, he did enter the ring with intense confidence and showed no fear of Hagler.
It was just short of a year after Hagler’s war with Hearns and from the opening bell looked very much like it would be a repeat of that fight as Mugabi came out throwing bombs. There was one difference though, The Beast could also take the best Marvin had to offer and the grueling match went on for 11 rounds. While there were moments when the intensity would ebb just a bit, this was all out war.
I had seen just about all of Hagler’s fights going back to his amateur days and had never seen him rocked the way he was against Mugabi. The two traded monstrous punches round after round with Marvin staying ahead but at the same time absorbing some unbelievable blows. You saw two things in this fight that were very rare in a Hagler bout; Marvin’s head snapping back from the force of the uppercuts Mugabi was landing, and Hagler being forced to give ground. Also, Marvin’s left eye was almost completely closed by the end of the fight. But, as the saying goes, you should have seen the other guy.
This was like an extended version of the Hagler/Herans fight.
While all rounds of the fight were exciting, it was the 6th that really stands out. In that round Hagler came out determined to end matters, and it appeared he would do just that as he unloaded with brutal blows to Mugabi’s chin. The Beast was rocked, he was forced back, he looked on the verge of crumbling, but then he came back to life and was rocking Halger with bombs of his own. The crowd was on its feet cheering as the round ended. After that it became a battle of attrition.
Marvin was relentless in the fashion of Rocky Marciano. He wore Mugabi down and by the 11th round the effects of the punches and exhaustion put Mugabi down for the count. Marvin had dug down and showed what a champion is made of. Hagler survived punches that would have sunk a battle ship yet never was discouraged. Mugabi took monster shots from Hagler and kept coming. This was like an extended version of the Hagler/Herans fight.
Marvin would next fight Ray Leonard who had said he saw something in the Mugabi fight that told him he could beat Marvin. He felt he could outbox him after that night.
Going into the Leonard fight Marvin was coming off two brutal wars; The battle with Hearns and the war with Mugabi. Hagler had no easy touch in between, but then again, nothing ever was easy for Hagler.
I have always thought Marvin made a tactical mistake in the Leonard fight by not pressing Ray early. He allowed Leonard to get a rhythm and to gain confidence in the early rounds. I believe that Hagler, having just had two brutal wars, wanted to show the public he could outbox Leonard, beat him at his own game. I think if he had shown the same intensity he had displayed against Hearns and Mugabi he would have stopped Leonard. I still think Marvin deserved the decision in the fight, but once again, he couldn’t catch a break.
I do know one thing. Marvelous Marvin Hagler showed just why he was a great champion the night he stopped John Mugabi. He not only showed his talent, conditioning, punching power, and indestructible chin, he showed that indomitable “will to win” that makes for a very great champion. Marvin ranks high on the list of all time greats, and he earned that designation the hard way. We will never again see the likes of a Marvelous Marvin Hagler.
https://youtu.be/G9GHqkinLsA
Complete Fight:
The Lyric Stage Company in Boston has kicked off its 44th season with the rarely produced Kander and Ebb musical Kiss Of The Spider Woman. The play, with book by Terence McNally, is based on Manuel Puig’s 1976 novel and the movie that followed. The Tony Award winning musical first appeared in 1993. This production is directed by Rachel Bertone who helmed last years wonderful Gypsy at the Lyric.
The story, which takes place in an Argentine prison, revolves around Molina (Eddy Cavazos), a gay window dresser who has been imprisoned for “corrupting a minor”, and Valentin (Taavon Gamble), a Marxist revolutionary, who has been sent to jail for his political activities. Valentin is initially tortured and then tossed into a cell with Molina who nurses him back to health. Upon regaining consciousness, Valentin draws a line down the center of their shared cell marking of each’s territory (I Draw The Line). He clearly is not comfortable with the gay Molina.
Eddy Cavazos, Lisa Yuen, and Taavon Gamble
Molina has learned to cope with the horrific conditions of being in prison by escaping in his mind to the movies he used to see when he would accompany his mother (Johanna Carlisle-Zepeda) to the cinema she worked in. One actress occupies his mind, Aurora (Lisa Yuen), whose movies he replays over and over in his head. We meet Aurora in the opening number Aurora.The one role she played that terrifies him is when she played a spider woman who kills with her kiss. As we see Molina and Aurora, through his imagination reenacting scenes from her movies, the character of the spider woman reappears over again as the haunting kiss of death that the prisoners live with everyday.
While Molina is apolitical, Valentin sees in his life a mission to change society. The two learn from one another, with Valentin it is begrudgingly, and eventually form a bond that turns into love.
The set is provocative as it reaches out to the audience giving a feeling of bringing everyone into the prison. Lighting and shadows on the floor alternate between a spider web and the outline of prison bars. It is subtle yet effective.The off stage screams of prisoners being tortured is unsettling, as it should be, and adds to the feeling of hopelessness Molina and Valentin feel.
This was my first time seeing a production of Kiss Of The Spider Woman, and my take away is it is a work that is very dependent on having the right people in the roles in order for it to work. Eddy Cavazos is superb as Molina. His body language speaks as much to the audience as do his lines. He moves about the stage with a patience that proves very effective for conveying the depth of the character of Molina. Watching Molina as he copes with the misery and suffering around him, and that is inflicted on him, we also see how he learns to understand his value as a human being. This is a role that could easily be overplayed, but Mr. Cavazos resists that temptation.
Eddy Cavazos and Johanna Carlisle-Zepeda
Of course, this is not a one person show, and Taavon Gamble has his work cut out for him as Valentin, the angry young man who feels he will never get the chance to save the world. Valentin, who wants equal rights for all is confronted with having to face his own problems, now is having to share a cell with a gay man. Can he retain his masculinity while at the same time having feelings and caring for a gay man? It is where he learns we are defined not by what we are but rather by who we are. Mr. Gamble has done a marvelous job in bringing so many conflicting emotions to the stage in a way that we can understand them and share in his growing affection for Molina.
Lisa Yen is Aurora and she sparkles in numbers such as Aurora and Let’s Make Love. She is also haunting as the spider woman who is the ever present shadow of death. Ms Yen is joined by Katrina Zofia, who plays Valentin’s girlfriend Marta, on the song I Do Miracles.
Molina’s mother is played by Johanna Carlisle-Zepeda. Her rendition of You Could Never Shame Me is a touching and moving love song showing a mother’s unconditional love for her son.
Taavon Gamble, Eddy Cavazos, and Lisa Yuen
While Kiss Of The Spider Woman is a story with much darkness and horrific situations, the tension is broken in the same way Molina has learned to escape from his misery; through the imagining of Aurora’s performances and show tunes, which are excellent. These breaks are much needed and make the story bearable. It is also much in the tradition of Kander and Ebb to take such dark stories and make them palatable. We can witness the suffering and misery while not being overwhelmed by it. That enables us to try to understand it and find ways to prevent it, or at least get through the suffering in life.
Today, almost everything is viewed through a political lens, particularly in theatre, and this play is political. While many will look to find comparisons with what happens in the play with what is happening in our society, it might be a good idea to look a bit further away and a bit closer to where the play is set. In Argentina there is some good news, three decades of Kirchener rule may be coming to an end, while in Venezuela the Marxist government has left the once prosperous country in a state where people are now starving to death. Cuba is still very much a prison island lacking basic human rights. Perhaps Valentin will reconsider his Marxist views in light of all this. I hope so, as he has the drive to do much good.
A few weeks ago I watched an HBO boxing double header featuring two light heavyweight title fights: Sergey Kovalev vs. Eleider Alvarez and Dmitriy Bivol vs. Isaac Chilemba. The bouts confirmed to me that the art of boxing, as I knew it, is dead and unlikely to be revived anytime soon.
It’s not so much what I saw but what I didn’t see. As in so many other televised contests the sophisticated boxing skills that were once so common among the top echelon of professional fighters 50 or more years ago are absent from today’s champions and contenders. In the title fights mentioned above less than a dozen body punches were exchanged and there was virtually no infighting. There were no double jabs or combinations and no feints, ducking, parrying, or weaving under punches. Footwork was in two directions—forward and back. Absent was lateral movement or circling an opponent. Other than occasionally stepping back out of range to avoid a punch, defense was limited to the usual gloves in front of the face while standing still and waiting to be hit. No attempt was made to slip a punch and counter. Every round was a repeat of the previous because the fighters did not have the experience, training or ring savvy to know how to change tactics.
Today the difference between the best amateur boxers and the best professional boxers is negligible.
With few exceptions the majority of today’s top professional boxers all fight the same way. There is very little variety in their fighting styles. Even several years after turning pro it is basically the same style they used as amateurs. In the past that would have been perceived as a weakness when competing against an experienced professional. Today the difference between the best amateur boxers and the best professional boxers is negligible. And that is why, in boxing’s current culture and climate, it is impossible to produce a world champion who merits comparison to the greatest boxers of the 1920s to the 1970s.
One of the sport’s current stars is the former two time Olympic gold medalist (2008 and 2012) Vasyl Lomachenko. This extremely talented boxer won his first title in 2014 in only his third professional fight. Over the next four years he added two more divisional titles to his impressive resume. But we will never know how great Vasyl can become because the talent pool in the lighter weight divisions lacks depth. Where are the great fighters to test him? Answer: there are none.
Lomachenko is a rare commodity. He reminds us of the very promising professional prospects who often caught our attention during boxing’s golden age. But even if he had been competing during the last vestiges of that era—the 1960s and 1970s—his rise to the top would not have been as rapid or as easy. And there would be no guarantees he would ever win a title. Despite his amazing amateur record he would not have been ready this early in his career (less than a dozen professional fights in four and a half years) for the likes of Sugar Ramos, Vicente Saldivar, Carlos Ortiz, Nicolino Loche, Roberto Duran or Aaron Pryor.
This used to be known as “stick and move” strategy. It is rarely seen today.
What makes Lomachenko stand out today is his use of extreme speed of punches combined with rapid and constantly shifting footwork that he uses to confuse and befuddle second rate opponents. This used to be known as “stick and move” strategy. It is rarely seen today. I’m grateful to Lomachenko for reviving it. Hopefully it will catch on. After all, a target swiftly moving to and fro is always more difficult to hit than a stationary one. It is a simple concept that doesn’t seem to have penetrated today’s boxers or their trainers. The best way to neutralize a constantly moving target is to either keep your opponent preoccupied with a busy left jab, make him miss, and then counter, or cut off the ring while applying unrelenting pressure. Luckily for Lomachenko there are no outstanding pressure fighters today in the mold of a prime Manny Pacquiao or Julio Ceasar Chavez. Another was Ray “Boom Boom” Manicini who gave the great Alexis Arguello trouble for 13 rounds. Ray wasn’t ready to take on Arguello but if we were to replace Arguello with Lomachenko I think the result would be a win for “Boom Boom”.
Forty years ago another gifted professional, Wilfred Benitez, won the junior welterweight title from the great Antonio Cervantes in his 26th professional fight. It is the same title Lomachenko won by stopping Jorge Linares in the 10th round on May 12th 2018. It was Loma’s 12th pro fight. Linares had a decent amount of professional experience but at best he is a slightly better than average boxer. Yet by using an effective jab and quick counters he was able to keep the fight even through nine rounds. Now what do you think would happen if we were to replace Linares with a prime Antonio Cervantes or Wilfred Benitez?
Perhaps a boxer with as much natural talent as Lomachenko may have adapted if he had come along 50 or more years ago. But it’s impossible to say. In years past there were so many terrific prospects who faltered when it came time to make the leap from great prospect to great boxer.
I don’t say this to demean the current crop of world champions. (At last count there were over 100 spread over 17 weight divisions!) The best of them possess an abundance of natural talent, are in excellent physical condition, have extensive amateur experience, and usually put forth a tremendous effort. It is not their fault that after turning pro they do not receive the type of quality training and competition that would have a positive impact in improving their boxing technique.
A major reason for the lack of refined skills is the shortage of qualified teacher-trainers who understand and can teach the finer points of boxing technique.
A major reason for the lack of refined skills is the shortage of qualified teacher-trainers who understand and can teach the finer points of boxing technique. Nevertheless, despite these drawbacks, I think it is important to make comparisons between today’s best and those of decades past if only to gain perspective and to inform and enlighten us as to what it truly means to be a great boxer.
Among today’s fighters there are a few who are not of the cookie cutter variety. Lomechenko, Terrance Crawford and Gennady Golovkin are in this category. They are pleasing to watch because they are capable of performing at a higher level than the sea of mediocrity that surrounds them. They bring back memories similar to the type of young talent we used to see years ago. Golovkin is the most “old school” of the three. But an accurate appraisal of their current level of overall skill and experience indicates they are not as well rounded and seasoned as the top contenders and champions of boxing’s golden past. Through no fault of their own they will never be tested in the same way the best fighters of the 1920s to 1970s were tested. They will never experience the type of brutal competition their counterparts in decades past had to contend with while trying to hold onto a title or a top ten rating.
Let’s return to the four fighters mentioned at the beginning of this article, all of whom are either current or former light heavyweight champions. How would they have fared against the best light heavyweight champions of the 1970s and early 1980s? (Comparisons to golden oldies like Loughran, Rosenbloom, Lewis, Conn, Moore or Johnson are unnecessary because the answer is too obvious). Does anyone who has seen the following boxers actually believe today’s champions could defeat Bob Foster, Mathew Saad Muhammad, Victor Galindez, John Conteh or Michael Spinks? And what about Richie Kates, Jerry “The Bull” Martin, Yacqui Lopez, Eddie Mustafah Muhammed, Jorge Ahumada, Dwight Braxton, Marvin Johnson and Eddie Davis? These 1970s era light heavyweights did not build up their records fighting 2nd and 3rd rate opponents, as is the norm today. They did not avoid the hard fights.
All of the above proved to be tough and seasoned professionals capable of giving any great boxer of the past a competitive fight. Aside from the quality of their training and the seasoning they acquired over the course of their careers these accomplished professionals possessed another very important weapon: psychological toughness. A fighter who could combine that type of resilience with superior boxing skills was very, very tough to beat.
Of the four light heavyweightswho headlined the HBO show the best of the lot is Alvarez who won his portion of the title by stopping Kovalev in the seventh round. He did very well considering he hadn’t fought in over a year. (Long layoffs and inactivity is another feature of the current boxing scene). I am impressed by Alvarez but also saddened. He is extremely talented, well-schooled in basic boxing technique and is very determined. Had he been more active (only four fights in the last two years) he could have eclipsed Andre Ward as the star of the division. But at the age of 34 and with only 23 pro fights in 11 years the former amateur champion will never have the opportunity to realize his full potential.
Another example of unrealized professional talent is Dmitry Bivol. As a successful amateur boxer he engaged in nearly 300 fights, winning a slew of regional titles before turning pro in 2014. Three years later Dimitry won a portion of the world light heavyweight title in only his 12th professional fight. As an amateur he performed at the highest level. Using those same amateur skills he has attained great success in a very short time as a pro. Dmitry won’t be required to improve much beyond his current skill level because the line that once separated top amateur boxers from top professional boxers has become blurred. In his most recent bout he won a dreary 12 round decision against a second rate opponent whose purpose was just to survive the 12 rounds and collect his payday. It would be nice if the four current champs were to engage in a tournament to determine who is best—but don’t hold your breath waiting for that to happen.
Forty years ago Dmitry Bivol would be labelled a hot prospect and maybe in line for a semi-final in Madison Square Garden. But as good as he is Dmitry would not be ready to challenge a prime Victor Galindez, the reigning world light heavyweight champion. At that time 300 amateur fights and 14 pro wins (88 rounds) didn’t make you ready to challenge an outstanding professional boxer whose record showed over 50 pro bouts and 485 rounds.
That futile effort, and his opponent’s stubborn resistance, appeared to dampen Kovalev’s fighting spirit.
And what of Kovalev—the once mighty “Krusher”?Three years ago he put up a stirring but losing effort against a very good Andre Ward. That decision could have just as well gone to Kovalev. It was that close. His return bout with Ward seven months later ended in controversy and left many fans puzzled. Slightly ahead on points “The Krusher” took several borderline shots to the midsection. He reacted by draping himself over the ropes. The referee awarded the tko win to Ward. In his recent bout against Alvarez he was also ahead on points. Kovalev tried hard for a KO in rounds five and six but couldn’t put Alvarez away. That futile effort, and his opponent’s stubborn resistance, appeared to dampenKovalev’s fighting spirit. He came out for the seventh round looking tired and discouraged. Carrying his left hand dangerously low and moving slowly Kovalev was knocked down by a solid right cross.
What surprised me was that Kovalev, after arising from the first knockdown, did not appear to know what to do.But a quick review of his record explained why. In nine years Kovalev had fought only 143 professional rounds. Seventeen of his 28 knockout victims never made it past the second round. A seasoned pro in the same situation would have known how to tie up his opponent in a clinch or bob and weave his way out of trouble, or at least make the attempt. Kovalev, used to knocking out inferior opposition, didn’t know what to do when the situation was reversed. He remained an open target and was quickly dropped twice more before the referee stopped the fight.
If the reader is interested additional information related to the topic of this article is contained in the author’s book, “The Arc of Boxing: The Rise and Decline of the Sweet Science” (McFarland Publishing). It is available on Amazon.
Mike’s other book is “Stars in the Ring: Jewish Champions in the Golden Age of Boxing”, also available on Amazon.
Pulitzer Prize Winning Play Runs September 14 Through October 13
Written by Stephen Adly Guirgis, BETWEEN RIVERSIDE AND CRAZY is a dark urban comedy that explores, with both disarming tenderness and street-smart wit, the slippery nature of justice, and the grit it takes to move on.In an effort to hang on to one of Manhattan’s last great rent-stabilized apartments, ex-cop Walter “Pops” Washington does battle with a dazzling array of outlandish characters, each one a celebration of the glorious contradictions that make up human nature.
Mr. Guirgis is a member and former co-artistic director of LAByrinth Theater Company in New York City. His plays, which have been produced on five continents and throughout the United States, include Our Lady of 121st Street (Drama Desk, Lucille Lortel, Outer Critics Circle Best Play nominations); Jesus Hopped the ‘A’ Train (Edinburgh Festival Fringe First Award, Barrymore Award, Olivier Nomination for London’s Best New Play); In Arabia We’d All Be Kings (2007 LA Drama Critics Best Play, Best Writing Award); The Last Days of Judas Iscariot (10 Best – Time Magazine & Entertainment Weekly); and The Little Flower of East Orange. His Broadway debut, The Motherfucker with the Hat (dir: Anna D Shapiro), received 6 Tony Award nominations including Best Play.
Tiffany Nichole Greene will helm SpeakEasy’s production of BETWEEN RIVERSIDE AND CRAZY.
The cast for this New England Premiere production is Tyrees Allen, Octavia Chavez-Richmond, Maureen Keiller, Celeste Oliva, Alejandro Simoes, Stewart Evan Smith, and Lewis D. Wheeler.
BETWEEN RIVERSIDE AND CRAZY will run for five weeks, from September 14 through October 13, in the Roberts Studio Theatre in the Stanford Calderwood Pavilion at the Boston Center for the Arts, 527 Tremont Street in Boston’s South End.
The multi-Tony Award-winning, international sensation that took Broadway and the world by storm, makes its Northeast premiere at the Ogunquit Playhouse, on stage September 5 through October 28. Jersey Boys takes audiences on an exhilarating journey behind the music of mega-stars Frankie Valli and The Four Seasons. The musical was penned by Marshall Brickman and Rick Elice with music by Bob Gaudio and lyrics by Bob Crewe. It follows 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. Audiences around the world have gone wild over 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.
Jonathan Mousset
Starring as Frankie Valli, lead vocalist of The Four Seasons is Jonathan Mousset. He has performed in many regional theatres across the U.S. in such shows as Newsies, In the Heights, and Godspell. Mr. Mousset has also performed in concerts at New York City venues including 54 Below, the Times Center, and the Town Hall. Matthew Guy Magnusson makes his Ogunquit Playhouse debut as Tommy DeVito, lead guitar player of The Four Seasons. Mr. Magnusson has numerous regional theatre credits including Grease, Spring Awakening, American Idiot, and Ring of Fire.
Performing as Bob Gaudio, songwriter behind The Four Seasons is Andy Christopher. Mr. Christopher 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. Returning to the Playhouse to star as Nick Massi, The Four Seasons bassist is Matthew David Amira. Mr. Amira was last seen 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.
ArtsEmerson, Boston’s leading presenter of contemporary world theatre, proudly welcomes Dead Centre’s (Ireland) Hamnet, co-directed and co-written by Bush Moukarzel and Ben Kidd. Hamnet opens September 20 and runs through October 7. A multimedia theatre experience, Hamnetbrings Shakespeare’s only son, who died at age 11 without knowing his famous father, to the stage. A riveting performance carried chiefly by a solo young actor confronts what it means—and what it costs— to be great. ArtsEmerson and Dead Centre will provide Boston audiences a final chance to see Ollie West perform in the role of 11 year old Hamnet who The Guardian calls “riveting [and] completely poised”. The companies celebrate West’s farewell performance as well as welcoming the young and talented Aran Murphy to take over the role of Hamnet in the final week of performances at the Emerson Paramount Center.
“Hamnetis an entirely ArtsEmerson show in the way it upends convention,” shares ArtsEmerson Artistic Director David Dower. “It’s a completely surprising, and deeply moving, contribution to the world of Shakespeare. In focusing on his son, a whole new portrait of theman emerges. And it’s audacious, entrusting this emotionally complex story to the care of its young star. Dead Centre is a fresh and rising voice out of Ireland that is emerging on the world stage with this piece. It makes a perfect opening to our 9th season.”
Shakespeare’s only son takes center stage. William Shakespeare had one son: Hamnet. While William was away working in London, Hamnet died at 11 years old without ever knowing his famous father. How do our dreams impact our families? Do adults really have it all figured out? Or are we blind to what we could have done better until it’s too late? In Hamnet, a tour-de-force performance from a young actor confronts what it means—and what it costs—to be great, and how living in the shadow of that greatness can keep one in the dark. In this moving, meticulous, multimedia wonder, ambition clashes with family responsibilities in a way that rivals the stakes of a great Shakespearean tragedy. Running time: 60 minutes.
The production runs three weeks at the Emerson Paramount Center’s Robert J. Orchard Stage, located at 559 Washington Street in downtown Boston. www.ArtsEmerson.org, by phone at 617.824.8400, or in person at the box office.
