Category Archives: Stage – all

Sally Struthers and Hal Linden To Appear In “Grumpy Old Men The Musical” At The Ogunquit Playhouse

To Run  August 8 to September 1

Fasten your seat belt, it’s going to be a grumpy ride! The Ogunquit Playhouse is proud to produce the U.S. premiere of the new musical-comedy, Grumpy Old Men the Musical on stage from August 8 to September 1 — just in time to celebrate the 25th Anniversary of the hit film that starred Jack Lemmon, Walter Matthau and Ann-Margret. This hilarious new show was penned by Dan Remmes, with music by Neil Berg and lyrics by Nick Meglin. Director for the Ogunquit production of Grumpy Old Men the Musical is Matt Lenz.

Two aging neighbors, Max (Ed Dixon) and John (Mark Jacoby), have been feuding for more than fifty years until the beautiful and charming Ariel (Leslie Stevens) moves in across the street — raising the rivalry to new heights! Get ready for non-stop laughs when two great masters of comedy step on stage – Emmy and Golden Globe winner Sally Struthers, and the Tony and Emmy Award-winning actor Hal Linden will team up with a cast of Broadway veterans to add to the fun! Don’t miss this laugh-out-loud story of family, friendship, love and romance in a fresh new musical that’s guaranteed to delight!
“We are thrilled and proud to produce the U.S. premiere of this hilarious new show. We are most excited to share Neil Berg’s fantastic musical score that is in an upbeat Broadway style. And, the work of Dan Remmes and the late Nick Meglin is a very adult and hysterical production that is perfect for our audiences. Because of the themes of family, romance and hilarity, all wrapped up in a fun uplifting musical, we hope we have created something new that will have a long life in the U.S. and beyond,” stated Executive Artistic Director Bradford Kenney.

Hal Linden

The Ogunquit Playhouse is thrilled to announce that that star of stage and screen, Hal Linden joins the cast as Grandpa Gustafson. Perhaps best known for his portrayal of police precinct captain Barney Miller in the hit television series of the same name that aired on ABC from 1975 to 1982, Mr. Linden has earned multiple Golden Globe, Emmy, and Tony nominations over his career. He hosted ABC’s “FYI,” a sixty-second information series in the 1980s, for which he received two Emmy Awards. His third Emmy in 1984 was for his portrayal of a rabbi on the CBS series “Schoolbreak Special.” In 1971, he won the Tony Award for Best Actor in a Musical for his performance in The Rothschilds, and to date, he has performed in more than 20 Broadway and Off-Broadway productions.
Two-time Emmy Award and Golden Globe Award-winner Sally Struthers joins the cast as the new-to-town Punky. She is probably best known for her role as Gloria in the groundbreaking TV series All in the Family. She has also starred in the Fox television series 9 to 5 and her own CBS series Gloria, as well as recurring roles on the CBS comedy Still Standing and the CW network’s highly acclaimed Gilmore Girls. Ms. Struthers joined the Gilmore Girls cast for Netflix’s new four movie limited revival,

Sally Struthers

which premiered in the fall of 2016, and recently guest starred in the acclaimed IFC comedy series Maron. Sally Struthers has performed many roles at the Ogunquit Playhouse including last season’s Bullets Over Broadway as Eden Brent, as Evangeline Harcourt in Anything Goes, the Duchess Estonia Dulworth in Nice Work If You Can Get It, Mama Morton in Chicago, Paulette in Legally Blonde and as Felicia Gabriel in The Witches of Eastwick.
Ed Dixon and Mark Jacoby lead the cast of Grumpy Old Men the Musical as the two feuding (and very grumpy) neighbors. Portraying Max is Ed Dixon, who won the 2017 Drama Desk Award for Georgie: My Adventures with George Rose, which he wrote and starred in. On Broadway he has been featured in Anything Goes, Mary Poppins, Sunday in the Park with George, and Les Miserables, among others. Mark Jacoby joins Grumpy Old Men the Musical as John. On Broadway he has performed in Elf, Sweeny Todd, Man of La Mancha, Ragtime, The Phantom of the Opera, and Show Boat for which he received Tony, Outer Critics, and Joseph Jefferson Award nominations. Recently he starred in the 2017, Oscar-nominated film, The Post.
For info: www.ogunquitplayhouse.org 207.646.5511

“Mamma Mia!” Opens At The North Shore Music Theatre August 7

The hit musical Mama Mia! that includes 22 songs from the group Abba will be playing at the North Shore Music Theatre from August 7 through September 2. This will be an original in-the-round production.

“Mamma Mia! is a show that audiences have been requesting for years, and I am excited that we finally have the rights to create our own unique production just for our audiences. Even those fans who have seen Mamma Mia! multiple times before have never seen the show like this,” said Bill Hanney, NSMT owner and producer. “I am also very lucky to be able to cast many of the amazing performers from the recent sold out run we just produced at Theatre By The Sea, my other venue in Rhode Island. North Shore’s production will also be directed and choreographed by our talented Producing Artistic Director, Kevin P. Hill, who has also helmed our hit productions of Mary Poppins, Sister Act, Young Frankenstein, and A Christmas Carol. I know audiences looking to have a good time will not be disappointed.”

NSMT’s production of MAMMA MIA! will be led by Erica Mansfield (Donna Sheridan), along with Tiffani Barbour (Rosie), and Tari Kelly as (Tanya). Erica Mansfield has performed on Broadway in Bandstand, Finding Neverland, Mamma Mia!, On the Town, On the Twentieth Century, Pippin, Evita, and How to Succeed. Tiffani Barbour has appeared on television in “Veep,” “The Leftovers,” and “Law & Order,” and has been seen on stage in New York in Hit the Wall, and Born Blue, and on tour in Mamma Mia! and Fame the Musical. Tari Kelly has appeared on Broadway in Groundhog Day, Something Rotten!, How the Grinch Stole Christmas, The Boy From Oz and Show Boat.

North Shore Music Theatre is located at 62 Dunham Road, Beverly, MA. 

978.232.7200 www.nsmt.org 

Peter Pan At North Shore Music Theatre Through July 22

Elena Ricardo as Peter Pan
Photo©Paul Lyden

PETER PAN, the high-flying Tony© Award-winning musical, follows the adventures of Peter Pan and his mischievous fairy sidekick, Tinkerbell, as they visit the nursery of the Darling children late one night. With a sprinkle of pixie dust, they begin a magical journey across the stars that none of them will ever forget. From ticking crocodiles, to fierce warriors, bungling pirates and the villainous Captain Hook himself, this fun classic will delight all ages. With its iconic score featuring songs like “I’m Flying,” “I Gotta Crow,” “I Won’t Grow Up” and “Never Never Land,” PETER PAN is the perfect show for the child in all of us!

James Beaman (Captain Hook) and Paul Castree (Smee) Photo©Paul Lyden

PETER PAN playing at North Shore Music Theatre thru July 22, 2018.   (978) 232-7200, visit www.nsmt.org,  box office at 62 Dunham Rd., Beverly, MA.  

“An American in Paris” The Ogunquit Playhouse July 11 Through August 4 

The Regional Premiere of An American in Paris to Open at the Ogunquit Playhouse 

 One of the most captivating musicals ever to be adapted for the stage, An American in Paris, makes its regional premiere at the Ogunquit Playhouse July 11 through August 4. This exquisite musical is inspired by the Academy Award-winning film that starred Gene Kelly and Leslie Caron and features music and lyrics by George and Ira Gershwin with book by Craig Lucas. The Ogunquit Playhouse is proud to be the first regional theatre in the U.S. to produce this new musical, which won four Tony Awards in 2015. The stunning combination of iconic music, timeless love story, breathtaking ballet, energetic tap dancing and an all-new design created exclusively for the Ogunquit Playhouse results in a spectacular musical that includes the Gershwin songs “I Got Rhythm,” “Liza,” “’S Wonderful,” “But Not for Me,” “Stairway to Paradise,” and orchestral music including “Concerto in F,” “2nd Prelude,” “2nd Rhapsody,” “The Cuban Overture,” and “An American In Paris.” 

An American in Paris tells the romantic story of World War II veteran Jerry Mulligan (Clyde Alves) who, hoping to start a new life, chooses newly-liberated Paris to make a name for himself as a painter. His life becomes complicated when he falls for Lise (Julie Eicher), a young Parisian shop girl, only to learn he is not her only suitor. This lavish new musical is guaranteed to sweep you off your feet, and into the arms of a story you’ll never forget.

Starring as Jerry Mulligan is Broadway’s Clyde Alves in his Ogunquit Playhouse debut. Mr. Alves’ numerous Broadway credits include Bullets Over Broadway, Nice Work If You Can Get It, Anything Goes, Wicked, Hairspray, Oklahoma!, On The Town, for which he received an Astaire Award nomination, and The Music Man, for which he won an Astaire Award for his performance as Tommy. 

Co-starring as Lise, the mysterious Parisian shop girl who catches Jerry’s attention, is Julie Eicher who is also making her Ogunquit Playhouse debut. Ms. Eicher was in the National Tour of Phantom of the Opera, and has performed at Lyric Opera of Chicago in Carousel, and Theatre by the Sea in Young Frankenstein. She has also performed with the Nashville Ballet, Dayton Ballet, Ballet Neo, and Artisan Dance Company as well as on television’s “So You Think You Can Dance.” This fall she will be joining the National Tour of Miss Saigon.

www.ogunquitplayhouse.org   207-646-5511.

Review:”Born For This: A New Musical” At Emerson Majestic

Born For This: A New Musical 

At Emerson Majestic

Is Musically Uplifting

Reviewed by Bobby Franklin

Born For This: A New Musical now playing at the Emerson Majestic Theater in Boston is the story of BeBe and CeCe Winans. The brother and sister are the youngest members of the Winans family and a number of their ten siblings, comprise the Gospel singing group The Winans. 

Milton Craig Nealy as Pop Winans with cast. (Photo Credit: Joan Marcus)

Raised in a religious and loving family, BeBe and CeCe  were not part of the group their brothers formed, but in 1982 CeCe was invited to audition for Jim and Tammy Faye Bakker’s Praise The Lord Network in Pineville, North Carolina. When CeCe was accepted her parents agreed to let her move south from Detroit on the condition BeBe would accompany her. Before long BeBe would also join the network as a singer. 

Born For This has a compelling story about the rise of the two young Winans and the success and conflicts they faced; however, the musical numbers overshadow that story. This is not a bad thing as the score, written by BeBe Winans, is powerful, spiritual, and uplifting.

Donald Webber Jr. plays BeBe and Loren Lott takes on the role of CeCe. Both are fine musical talents and deliver their numbers exquisitely. Milton Craig Nealy as Pop Winans nearly steals the show with his rich voice which is filled with warmth and strength. His rendition of I Got A New Home is something to behold. 

Chaz Pofahl as Jim Bakker, Kirsten Wyatt as Tammy Faye Bakker, Loren Lott as CeCe Winans, and Donald Webber Jr. as BeBe Winans (Photo Credit: Joan Marcus)

Chaz Pofahl and Kirsten Wyatt play Jim and Tammy Faye Bakker. Mr. Pofahl gives us a sympathetic Jim Bakker who was the first white televangelist to have African Americans included in broadcasts. The Bakker’s received multiple threats when they first featured the Winans, but they did not back down and to this day BeBe feels he and his sister were treated very well by the couple whose ministry ended up mired in scandal. Unfortunately, Ms Wyatt’s Tammy Faye is played more in caricature, and while quite funny, diminishes the deeper story.

That story is a good one and deals with so many issues such as struggling with what success truly is, the conflict with monetary gain while retaining one’s integrity, the strength of family, faith in God, and the flawed nature of even the best intentioned people. But as I said, the music takes front row in this production. 

At times I got the feeling I was at a taping of American Idol, as each cast member stepped forward and gave every number their all while the audience cheered them on. The theater was filled with energy. There is no lack of musical talent on the stage of the Emerson Majestic.

While the entire cast is strong I would just like to mention a couple of others who were particularly moving. Nita Whitaker as Mom Winans and Brad Raymond who plays Ronald Winans both have great presence as well as great voices. Both were deeply moving.

Though lacking in dramatic tension, the story is still a touching one that will leave you feeling good. The music will leave you smiling. 

It will be interesting to see how well a musical that shows Evangelical Christians in a good light is received here in the Northeast, but it is hard not to feel positive after being filled with the wonderful spirit and music of BeBe Winans. 

Born For This: A New Musical

Presented by Emerson Arts

Now through July 15

Emerson Cutler Majestic Theater, Boston

Bostontickets [at] artsemerson [dot] org

617.824.8400

 

 

“The Pianist of Willesden Lane” Returns To Hartford Stage

Piano Virtuoso Mona Golabek Returns to Hartford Stage for a Limited Engagement of The Pianist of Willesden Lane

Back by popular demand, the inspirational solo show will run July 12 – 22 for 13 performances.

World-renowned piano virtuoso Mona Golabek returns to Hartford Stage for a limited engagement of her inspirational show, The Pianist of Willesden Lane. Back by popular demand, The Pianist of Willesden Lane will run Thursday, July 12, through Sunday, July 22, for 13 performances only. Tickets will be available for sale on Saturday, May 19.

“Mona’s performance is fondly remembered by Hartford Stage audiences, and I am frequently asked when she might return to Hartford,” said Michael Stotts, Managing Director of Hartford Stage. “We are all delighted to get this chance to welcome Mona back this summer, to share her moving story, and experience her extraordinary talent.”

“There are singular performers and singular performances. We are thrilled to welcome Mona Golabek and The Pianist of Willesden Lane back to Hartford Stage,” Hartford Stage Artistic Director Darko Tresnjak said.

In The Pianist of Willesden Lane, Golabek performs some of the world’s most beautiful classic piano pieces as she shares her own mother’s riveting story of survival. Golabek was taught piano by her mother, Lisa Jura, who, along with Lisa’s mother, Malka, is the subject of the book, The Children of Willesden Lane: Beyond the Kindertransport: A Memoir of Music, Love, and Survival, by Golabek and Lee Cohen. Director Hershey Felder (Our Great Tchaikovsky, George Gershwin Alone) adapted the play from the book.

Mona Golabek in The Pianist of Willesden Lane.
(Photo: mellopix.com and Berkeley Rep.)

The Pianist of Willesden Lane originally performed at Hartford Stage in 2015 to rave reviews from both critics and audiences. The Hartford Courant called The Pianist of Willesden Lane “a skillful concert performance with a heartwarming story of survival…Entrancing!” Broadway World wrote, “It’s an extraordinary story of human courage, cooperation, and talent. What lifts it here into the realm of art is how beautifully Ms. Golabek plays the piano. Segments of Beethoven, Grieg, Mozart, Debussy, Scriabin, Chopin, Rachmaninoff, and more are interspersed with straightforward narration about events and personalities, all delivered by Ms. Golabek. Her interpretations are full of feeling.”

An author, recording artist, radio host and internationally acclaimed concert pianist, Golabek is the founder and president of the non-profit organization Hold On To Your Music. A Grammy Award nominee, she has been the recipient of numerous awards, including the Avery Fisher Career Grant and the People’s Award of the International Chopin Competition. She has been the subject of several PBS television documentaries, including More Than the Music, which won the grand prize in the 1985 Houston Film Festival, and Concerto for Mona, featuring her and conductor Zubin Mehta. She has appeared in concert at the Hollywood Bowl, The Kennedy Center for the Performing Arts, Royal Festival Hall, and with major orchestras and conductors worldwide.

Golabek’s recordings include the best-selling Carnival of the Animals, featuring the voices of Audrey Hepburn, Ted Danson, Lily Tomlin and others; Ravel’s Mother Goose, featuring Meryl Streep; and the Piano Trios of Arensky and Tchaikovsky, recorded in collaboration with her sister, Renee Golabek-Kaye, and including the Poulenc Double Piano Concerto.

Felder, a pianist, actor, playwright, composer, producer, and director, has previously thrilled Hartford Stage audiences with his one-man shows Our Great Tchaikovsky, George Gershwin Alone and Monsieur Chopin. His other works include Hershey Felder, Beethoven; As I Knew Him; Maestro Bernstein; Musik (Franz Liszt); and Hershey Felder as Irving Berlin.

 Hartford Stage box office: 860-527-5151 or visit www.hartfordstage.org.

“Oklahoma!” At The Ogunquit Playhouse Is More Than Okay

Oklahoma!

Directed by Fred Hanson
Through July 7
The Ogunquit Playhouse
Ogunquit, Maine
ogunquitplayhouse.org
207.646.5511

Stephen Mark Lukas and Cast
(Photo: Gary Ng)

It has been seventy-five years since Richard Rodgers and Oscar Hammerstein collaborated on their first play and changed musical theatre forever. Oklahoma!, with a bit of refreshing, has held up well and the latest production now playing at the Ogunquit Playhouse gives this great work the respect it deserves.

The play about the growing pains of the soon to be 46th state takes place, with the exception of the final scene, in one day. There are two romantic stories, the one between Curly (Stephen Mark Lukas) and Laurey (Taylor Quick), and Ado Annie (Chessa Metz) and Will (Colby Dezelick), as well as the conflicts that arise as two groups, the cowboys and the farmers have to learn to live together and share the land. There is also the matter of Judd (Timothy John Smith), the brooding and scary loner, who doesn’t fit in.

As the overture plays, beautiful scenes are projected on the curtain that give us a sense of the vastness of the Oklahoma territory. The opening scene, which was a departure from usual theatrical formula at the time in which the play first hit Broadway, shows Aunt Eller (Susann Fletcher) churning butter while, from offstage Curly begins singing Oh, What A Beautiful Mornin’, which is as effective now as it must have been in 1943.

The sets which include a cabin, windmill, cornfield and a backdrop that seems to go on forever are constant reminders of the vastness of and challenges faced by those building a community on this new land.

The Farmer and the Cowmen
(Photos: Gary Ng)

The score is still as fresh as the morning dew on the cornfield. Stephen Mark Lukas and Taylor Quick in the leading roles combine the acting chops and voices that their parts demand. It is said that Rodgers and Hammerstein would cast singers who could act rather than the usual model of finding actors who could sing. I’m not sure what formula was used here, but it certainly works.

This production is based on the 1998 London revival, which ironically did not transfer directly to Broadway because Actors Equity demanded only American actors be allowed to play in it. The choreography by Susan Stroman is the same used in that revival, and is led here with some additions by choreographer Ginger Thatcher who has worked with Stroman. It is important this was handled well as Oklahoma! is as much a dance piece as it is the musical, and Ms Thatcher gets it done darn well.

The dream sequence ballet ending Act I is breathtaking.

The dream sequence Out Off My Dreams-Ballet ending Act I is breathtaking. Ms Thatcher along with this amazingly talented cast have given audiences a scene that will be talked about for years. Atmospheric, emotionally jarring, and just magnificent. At the performance I attended the audience was in awe as they stepped out for intermission.

The play, that at moments teeters on the brink of sentimentality but never goes over the edge also has a dark side to it. The character Judd who comes across as creepy and threatening, and with good reason, never fits in with the others. In all of the pieces I have read about the play I have not read any that show sympathy with him. In this production Timothy John Smith gives us all of the darkness of Judd, but also an undercurrent of how things may have been different if the others had made an effort to understand him. I’m reminded a bit of Captain Queeg in The Caine Mutiny. Could a sympathetic ear have made a difference? After all, early in the play it is Curly who shows a dark side when, in jealously over Judd’s escorting Laurey to the box social, he visits Judd and attempts to convince him to commit suicide (Poor Judd His Daid). While the song is funny it is also quite disturbing, and the Calibanish Judd sees through it. Not exactly an invite to join in with the community. Mr. Smith brings more complexity to this character then I have seen before, and he does it very subtly. Quite impressive.

All of the musical numbers are memorable with People Will Say We’re In Love, The Farmer And The Cowmen, The Surrey With Fringe On Top, and the finale Oklahoma! being particularly outstanding.

Taylor Quick and Stephen Mark Lukas
(Photo: Jay Goldsmith)

Oklahoma! is a wonderful musical but it is more. The story has many levels to it, and it is one that can make us think about the challenges of working together to build and maintain a community. In a way we are all farmers and cowmen who have to work on being friends. It is also a reminder that being able to get along does not mean not having differences, but instead to respect those differences. It also means striving to understand the outsider.

With cornfields that literally reach out to the actors, an unbeatable score, a cast that abounds with talent, lighting and scenery that are beyond impressive, this is a theatre experience not to be missed. Director Fred Hanson has pulled it all together and the Ogunquit Playhouse stage is the perfect theater to witness it in.

Every so often I like to remind my readers that the Ogunquit Playhouse is not summer theatre. It is a full blown theatrical company that rivals Broadway in quality. As is seen in Oklahoma!, you get top talent with a production team that knows how to out on a play. And, it all takes place in a beautiful and comfortable theater. If you haven’t been before, don’t hesitate to take a drive up to beautiful Ogunquit, Maine and see for yourself. Richard Rodgers and Oscar Hammerstein would be pleased. You’ll leave the theater saying “Oklahoma!, You’re Okay!”

“Oklahoma!” Opening At The Ogunquit Playhouse

Rodgers and Hammerstein’s Oklahoma! Bursts Onto the Ogunquit Playhouse Stage Just in Time to Celebrate its 75th Anniversary! 

Rodgers and Hammerstein’s great American classic Oklahoma! bursts onto the Ogunquit Playhouse stage June 13 to July 7. The Playhouse is thrilled to create an exciting new production of this beloved classic as part of its 75th Anniversary since first opening on Broadway. This groundbreaking musical was Rodgers and Hammerstein’s first collaboration, and in many ways their most innovative, having set standards for musical theatre that are still being followed today. The lively musical features the timeless classics, “Oh, What a Beautiful Mornin’,” “The Surrey with the Fringe On Top,” “I Cain’t Say No,” “People Will Say We’re in Love” and of course the triumphant “Oklahoma!”

“Now, with Oklahoma! celebrating its 75th Anniversary, it seemed the perfect time to bring this beloved classic to our stage. The Ogunquit Playhouse production will feature the original designs from Cameron Mackintosh’s London and Broadway revival of Oklahoma!, and Susan Stroman’s choreography, which will be tailored for our production by Susan Stroman’s Associate Ginger Thatcher. Our show will be helmed by Fred Hanson, who together with an outstanding cast will create a fresh, lively and exuberant Oklahoma!,” stated Executive Artistic Director Bradford Kenney.

The high-spirited rivalry between the local farmers and cowboys living in Western Indian Territory at the turn of the twentieth century, provide the colorful setting for Curly, the confident cowboy, (Stephen Mark Lukas) and Laurey, the beautiful, head-strong farm girl, (Taylor Quick) to play out their love story. Throw in a fierce rival vying for Laurey’s attention, one flirtatious fiancée, a reluctant suitor, magnificent choreography and one of the most beautiful musical scores ever written and you have a recipe for a rip-roaring good time! 

Individual tickets are on sale now with prices starting at $52. Three and four-show packages are also available for the current season. Gift certificates are also on sale. For tickets visit www.ogunquitplayhouse.org, the Box Offices located at 102 and 10 Main Street, Ogunquit or call 207-646-5511.

Attention Was Not Paid: “Fall”

 Fall

By Bernard Weinraub

Directed by Peter DuBois

Through June 16

The Huntington Theatre Company

Calderwood Pavillon, Boston 

Reviewed by Bobby Franklin

(Note: This play had an emotional impact on me, and because of that I have decided to focus more on the story than in writing an in-depth review of the production.)

Watching a recent performance of Bernard Weinraub’s Fall at the Calderwood Pavillon was an emotional experience. The play about Arthur Miller, his wife Inge Morath, and their son Daniel who was born with Down Syndrome is not a happy story. It certainly stirred up a lot of anger in me. Before I get into the story I want to say a few words about the production so as not to confuse my feelings about the play with the my opinion of how fine a production this was.

Nolan James Tierce and Josh Stamberg
(Photo Credit: T. Charles Erickson)

The cast is led by Josh Stamberg as the great playwright Arthur Miller, with Joanne Kelly as his third and last wife. John Hickok plays theatrical producer Robert Whitehead,  Joanna Glushak as Dr. Wise. Nolan James Tierce, an actor with Down Syndrome, takes on the role of Daniel, and while Mr. Tierce does not have a lot of lines, I found his words to be the most moving of any uttered by the rest of the cast. 

This was a superb production from top to bottom with each cast member giving strong performances, a tight script, incredible sets and lighting, along with the usual excellent direction of Peter DuBois. 

The difficulty I had with it had nothing to do with the production, it had to do with the subject matter, and Arthur Miller in particular. I know author Bernard Weinraub did not want to portray him as a villain, but after watching Josh Stamberg’s solid performance as Mller I felt nothing but disgust for that self-centered hypocrite. Joanne Kelly’s Inge comes across a bit more sympathetically, but in the end I even felt the pangs of loathing for her.

Josh Stamberg, Joanne Kelly, and Joanna Glushak
(Photo Credit: T. Charles Erickson)

Early in the play we witness Miller and Morath after she has given birth to their son Daniel. They are in the hospital and are given the news that there is a problem with their son. When they are told he has been born with Down Syndrome they are devastated, as just about any parents would be. They have to make some decisions about how to care for Daniel. It is 1966 and at that time doctors were advising parents that the best course was to have “these children” institutionalized as that would ensure they would get the best care. Inge wants to keep her son, Arthur can barely look at him. The decision is made to send him to an institution. It is all quite heartbreaking.

For the almost two hours that follow we witness the story of how Arthur and Inge went on with their lives. Of how Miller refused to even see his son, or as it is said “deleted” him from his life. The great moralizer continued to speak out about social justice causes, preaching on how we should treat each other all the while neglecting his own son. He continued living life fully in the public eye while keeping Daniel hidden away.

We hear of how his creative abilities diminished after Daniel was born. I am not sure if that is supposed to elicit some sympathy for the man, but I could not muster any. Now, I am fully aware that at the time of Daniel’s birth things were different. Many parents were only trying to do the right things when following the advice of the doctors who recommended institutionalization. However, in Miller’s case it is clear he wanted Daniel “erased” from his life. He saw this as “a life sentence”. Why? Was it shame? Was it fear he would not be able to be a good father to his son? Or was it merely that Daniel was going to be an imposition on his and Inge’s lives? Whatever it was, I saw no sign that he felt any love at all for Daniel. It was that coldness that struck me deeply and made me unable to find any sympathy for the man. In fact, by the time the play was concluded I was filled with disgust for him. 

Fall gives us much to think about. It is easy to say “it was different then,” that today we understand people better and are more compassionate, but is that really true? Today, more likely than not Arthur and Inge would have known about Daniel’s condition before he was born. They most likely would have “deleted” him before he came into the world. Miller would have been able to continue moralizing with a clear conscience. The latest figures I could find say 67% to 90% of unborn babies diagnosed with Down Syndrome are not brought to term. It has to be a heart wrenching decision for parents to make, and I can’t imagine being in that postion. I doubt very much that the parents who make such a decision feel they are erasing a child from their lives. They must suffer greatly. I doubt very much Miller would have agonized for even a moment over the decision, and that is what I found so disturbing. It is and should be, a very difficult and heart breaking decision. 

We find out at the end of the play that Daniel is still alive, and he has lived a very happy and fulfilling life eventually living with a foster family who loved him. He did go to meet his father once but was not greeted warmly. Daniel’s words spoken by Nolan James Tierce at the end of the play show what a truly remarkable man Daniel has become. How he came to know the true meaning of family. And, how lucky the world is that he was not deleted. 

On a personal note. I grew up in a neighborhood where there were a number of children with Down Syndrome. This was not long before Daniel was born. I never heard about having such children sent off to institutions. They were part of our community and were well loved. Maybe, people in my area could not afford to send their children away. I believe they kept them because they could not imagine life without them. With the advances in science that now allows us to know before birth if a child will be born with Down Syndrome I can’t help but wonder if we really have changed all that much. Some questions haunt me. Is a child with Down Syndrome less worthy of being brought into the world? If so, what does that say about the children who are living? Are they less worthy than others? These are hard questions.

Nolan James Tierce
(Photo Credit: T. Charles Erickson)

As I was leaving the theater I was thinking how nice it would have been to see the story told from Daniel’s side. This was still all about Arthur Miller and his egotism. Attention must be paid, and it should be paid: to Daniel. When you see Fall listen closely to the words spoken from the heart by Nolan James Tierce at the end. Pay close attention to those words as they are so much more important than trying to figure out why Arthur Miller behaved so terribly.

The Monster Speaks: Dr. Jordan Peterson at the Shubert

By
Edmond D. Smith

Tuesday night, May 22 at the Shubert Theater in Boston the monster spoke. Dr. Jordan Peterson the Canadian clinical psychologist, author, professor and newly minted YouTube and media sensation gave a two hour (a one-and-a-half-hour lecture followed by a half hour q&a) presentation expounding on the themes of his internationally bestselling book, 12 Rules For Life, An Antidote To Chaos. Dr. Peterson’s emergence as a public intellectual with a growing following has been met by howls of protest and derision including accusations of his being a Nazi, homophobe, misogynist, anti-Semite and the leader of a cult of neocavemen.

Tuesday night, the monster himself took the stage at the Shubert to a capacity house of, if his critics are to be believed, exclusively male, knuckle-dragging troglodytes. The first shock of the evening came when it turned out that in reality his audience consisted of casually dressed, polite (predominantly but not exclusively) men; but women were certainly there in abundance as well. The evening’s second shock came when Dave Rubin walked onstage to warm up the audience and introduce the monster. Rubin is a former liberal, a Jewish comedian, and host of the increasingly popular podcast The Rubin Report. He is also a happily married gay man. His introduction of Peterson was funny, warm and admiring.

Then came the main event. The monster walked out onto a stage bare but for a stool holding bottles of water. He was thin, of average height, wore a gray suit and tan shoes (loafers?). When he began to speak his voice was mild. His mannerisms were restrained. He presented as the antithesis of the fire-breathing hate monger that much of the press has portrayed. Over the next two hours he covered a wide-ranging territory that included some personal history, (He grew up in a small, rather bleak town in Alberta, Canada. The closest big city was Edmonton, five hundred miles distant.) much discussion of his intellectual heroes Carl Jung and Alexander Solzhenitsyn, his distaste of deconstructionist philosopher Jacques Derrida, and his fascination with both biological and social hierarchies. Apparently, his audience of devolved knuckle-draggers had come out to hear a lecture about ideas.

And he was an explosion of ideas. His manner of speaking was professorial without being didactic.

And he was an explosion of ideas. His manner of speaking was professorial without being didactic. He gave the impression of a man who isn’t just teaching: he paused often as he seemed to be carefully considering what he would say next, checking it in his mind for consistency, veracity and value. Its an unusual style that has the effect of making his audience feel as if they are discovering ideas with him, as if they are part of his process. And he readily admits that he doesn’t have all the answers but is sincerely interested in finding them.

At times he was personal and emotional, choking up a bit in remembering his mother-in-law’s difficult passing. At other times he was amusing as when he talked about the need rats have for physical nurturing. He also addressed some of the criticism he has gotten from the media including his now infamous TV interview with British journalist Cathy Newman, in which prior to the TV cameras coming on she was polite, charming and sympathetic and then completely changed her demeanor when the cameras were  turned on. He also addressed another recent controversy in which a phrase, “enforced monogamy”, has been used to delegitimatize him. His explanation of his actual meaning was dealt with in the post-speech q&a which can be seen in the link below:

If there was any one issue that propelled him into the spotlight it was his stance on a piece of Canadian legislation, Bill C-16 which stipulates that people must address transgendered or other “non-binary” people by a pronoun of their choosing. To fail to do so can lead to governmental sanctions. Peterson took to YouTube to voice his objection to the idea of compulsory speech which he vociferously contends is a violation of the principle of free speech. Suddenly he went viral.

Much of what Peterson has to say is his extrapolation of what are the consequences of the hierarchical structure of society, itself embedded in the biological foundations of humanity. His analysis considers the stories of ancient heroes and stories of how man succeeds and fails. This leads him to Christianity which relies on the primacy of the individual. This he contrasts with the collective, which history shows invariably leads to tribalism and the segmentation of society into separate interest groups. And it is here that we can see the genesis of the Left’s hatred of Peterson. By his reckoning history is rife with the failures of collectivism, including the horrors of Nazism, socialism and communism. And he sees the current growth of intersectionality, the collision of differing groups invariably leading to the strong marginalizing the weak, bringing about group conflict, with groups of the privileged victimizing the groups of the less powerful.

He believes that the only way out of these constantly recurring collectivist societies which distort man’s true nature and inexorably leads to societal disaster is through making the individual preeminent. Thus Christ is literally and metaphorically the individual who shoulders responsibility and saves the world. Individual consciousness, the individual’s sense of responsibility despite the burden it places on man is the way out of the collectivist trap.

And it is Peterson’s utter rejection of collectivism as anathema to the flourishing of the human spirit that makes him such a target for the Left.

And it is Peterson’s utter rejection of collectivism as anathema to the flourishing of the human spirit that makes him such a target for the Left. If people once again start to believe in the primacy of the individual, the individual with a sense of meaning, then the Left’s entire narrative crumbles and blows away like dust. This is why they see him as such a danger, as such a monster. To watch the cheer that rose up from the audience when Peterson pointed to the necessity of their taking responsibility for their own actions would be enough to drive the Left to the paroxysms of hate that they have directed at Peterson.

So the monster concluded with a call to people to live up to their “true nature” by accepting personal responsibility for their lives, and taking up… “an ethic of fair play and courage” which “…keeps us a good distance away from Hell.”

By the conversations that could be heard when Dr. Peterson had concluded his presentation the now obviously non-troglodytic audience left inspired to shoulder heavier burdens of responsibility in order to dedicate themselves to a higher purpose.

At this point it became impossible to view the humble academic whose words had just held our attention for two hours as having any of the characteristics of a monster. If a monster had been expected to show up on the Shubert stage that night, he never appeared. In fact he seems never to have existed at all.