Wheelchair Tennis at Its Best at the 2014 US Open Tennis Tournament

Enthusiastic crowd at the 2014 US Tennis Open

Enthusiastic crowd at the 2014 US Tennis Open, Court 11, September 7

I have been a huge tennis fan since the 1970s and 1980s when Chris Everett, Jimmy Connor, Johnny Mac and Andre Agassi hit the global stage and brought the game of tennis into the middle class and inspired generations of Americans to pick up the racquet. Since then I have followed the game, played and gone to the US  Tennis Open most years in August. How much I “fiene” for the sport? When you mention “US Open,” I NEVER THINK OF GOLF. There is only one US Open for me and that is tennis. Despite my great love for this international and inter-age sport, I never was really aware of the complete dynamics of the game until I saw wheelchair tennis played and began to speak with some of the athletes who dominate wheelchair tennis.

Me with Andy Lapthorne the winner of the Men's Wheelchair Quad Singles.

Me with Andy Lapthorne (UK) the winner of the Men’s Wheelchair Quad Singles 7-5, 6-2 against David Wagner (US)

Andy Lapthorne 2014 Winner of the Men's Wheelchair Quad Singles. THIS AMAZING PHOTO WAS TAKING THE DAY BEFORE ANDY WON. A bit prescient, don't you think?

Andy Lapthorne 2014 Winner of the Men’s Wheelchair Quad Singles. THIS AMAZING PHOTO WAS TAKEN THE DAY BEFORE ANDY WON. A bit prescient, don’t you think?

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Yumi Kamiji (Japan) won the championship Women’s Wheelchair Singles and Anek Van Koot (Netherlanders) was the Runner-up in a great match.

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I can’t speak highly enough about these incredible athletes who in many ways require more endurance, sang froid and all around good humor than the occasional Club tournament player like me or even the mobile professional players on the tour. How does one view the wheelchair tennis players if one is a trained athlete or a player with full mobility? According to Dan James, National Manager of Wheelchair Tennis, YOU LOOK AT THE PLAYERS AS “INCREDIBLE ATHLETES AND LOOK BEYOND THE WHEELCHAIR.” I would add that the wheelchair is actually one more “tool that has to be mastered,” along with a well placed serve, great backhand and forehand, superb eye-hand coordination and ball anticipation and all around games-person-ship that ARE REQUIRED for this world class sport which Wheelchair Tennis has become.

Women's Wheelchair Doubles Champtions in action. They won the 2014 Championship.

Women’s Wheelchair Doubles Champions in action. They won the 2014 Championship: Y. Kamiji and J. Whiley

S. Kuneida from Japan with a dynamite serve. 2014 Men's Singles Wheelchair Tennis Finals

S. Kuneida from Japan with a dynamite serve. 2014 Men’s Singles Wheelchair Tennis Finals. Click for the results of the win.

Gustavo just won a point against S. Kunieda at the 2014 Men's Singles Wheelchair Tennis Finals.

Gustavo just won a point against S. Kunieda at the 2014 Men’s Singles Wheelchair Tennis Finals.

The 2014 US Open Wheelchair Championships occur during the last four days of the US Open Tennis Tournament. This year I was able to see most of the Semis and the Finals matches. One of my pet peeves about the tournament is that some of it is held during the 2014 Men’s Semi Finals and Women’s Finals Matches. Having a seat at Ashe and running back and forth to see the progress of the matches can spin one’s head like Linda Blair in the Exorcist. However it is doable. I am praying that one day…these events do not run simultaneously but are either before in Ashe or are in the new stadiums where the old Louis Armstrong and Grandstand will have been. Here are some more of the pictures and some of the players. Their matches were fun, amazing and enjoyable. And they were challenging for the players and exciting for the spectators. You need to be there to understand.

2014 Men's Wheelchair Tennis Doubles Final...the winning points for this team are being accrued: Hudet and Kunieda.

2014 Men’s Wheelchair Doubles Final...the winning points for this team are being accrued: S. Houdet and S. Kunieda.

 

 

 

G. Reid and M. Scheffers in a tight match vs. Houdet and Kunieda. Men's Wheelchair Doubles Finals.

G. Reid and M. Scheffers in a tight match vs. Houdet and Kunieda. Men’s Wheelchair Doubles Finals. Click for results of the win.

Moldovan Wine Tasting at the Astor Center

Moldovan Wine Tasting at the Astor Center

Moldova.   Have you heard of this country?  Vaguely familiar with the tiny republic that is sandwiched between Romania and the Ukraine and whose southernmost border is the Black Sea, I was surprised to discover that it is a huge wine producer. Most of its agricultural landscape is devoted to vines and vineyards and the country boasts ownership of one of the largest wine cellars in the world.

Christy Canterbury led the guided Moldovan wine tasting at the Astor Center. When she mentioned the salient facts about Moldova reds and whites and discussed the number of hectares of land used for wine production in her introduction, my ears perked up. I was anxious to begin tasting this historic (from 3000 BC) wine that the Russians had been enjoying for decades until a recent embargo banned the wine for large import into Russia. Why? Most probably geopolitical reasons. You see, Moldova was beginning to market to the EU.  The embargo may have backfired in that Moldova has risen to the occasion and is encouraging their country’s producers to expand their markets to Europe and the United States. Russia’s loss is our gain as we broaden our horizons and our palates becoming familiar with Moldova’s delicious wines which were predominately marketed to eastern block countries.

The Republic of Moldova is sandwiched between Romania and The Ukraine.

Here are a few interesting facts about Moldovan wines which include both reds and whites. One fun fact is that the country is shaped like a bunch of grapes. The Republic of Moldova has 112 thousand hectares of vineyard planted with over 30 types of technical varieties. There are 4 historical wine regions, three of which are designated for the production of wines with protected geographic indication. The largest plantings are the white varieties (Rkatsiteli, Sauvignon Blanc, Chardonnay, Aligote to name a few.)  In the southern region 30% are red varieties (Cabernet Sauvignon, Merlot, Pinot Noir, Saperavi, etc.). Aromatic varieties account for 36% of the vineyards.

Cricova 2007 Grand Vintage Brut Methode Traditionnelle

What makes Moldovan wines unique and authentic are the indigenous varieties which are 10% of the vineyards: Feteasca Alban, Feteasca Regala, Feteasca Neagra, Rara Neagra to name the dominant ones. These unique wines were prestigious at the Tsar’s residence in the early 1800s and in Europe. After an anti-alcohol campaign (set by Mikhail Gorbachev) in the 1980s in which production was curtailed, Moldovan wine production revived. After the country became a republic in 1991, the modernization of wine making began in earnest.

 

At the tasting there were 10 wineries, all looking for markets in the US:  Vinaria din Vale, PURCARI, Castel Mimi, Ampelos, Chateau Vartely, Albastrele WinesCricova, Lion-Gri, BOSTAVANASCONI, and the wines of the Moldovan Small Wine Producers Association. The strongest and most popular offerings of whites and reds were the tasting selections, 11 in all.

Golden Land 2013 Feteasca Neagra

Among my favorites and those of the tasters were the Cricova 2007  Grand Vintage Brut Méthode Traditionnelle, a White Brut Sparkling Wine whose suggested retail price was $50. The one we tasted was from a sparkling white classic collection of 5 years, made by Méthode Champenoise that includes a second fermentation in bottles with following cuvee maturation in a horizontal position for more than five years. What was interesting about this winery was that they hold wine collections of celebrities. If you want to store your collection there, this winery will oblige you. Indeed, there is a story that the Red Army confiscated Hermann Göring’s wine collection and it is stored at this winery. The price of the wine from the Göring collection goes for $25,000 a bottle.

There were two other whites that I enjoyed: the Château Vartely Traminer 2013 Sec Alb, a white dry wine from the Codru region that had a special flavor of rose-petals and moderate acidity, ideal for the summer. A white, Crescendo 2012 Chardonnay Barrel Fermented Alb Sec is a barrel fermented white dry wine that has intense flavors. Its elegant and seductive wood notes, well integrated structure melds with the ripe fruit that has significant influences of citrus acidity.

Christy Canterbury led the guided wine tasting of Moldovan Wines at the Astor Center.

Of the five reds, I especially enjoyed two. One was Golden Land 2013 Feteasca Neagra. This is comprised of the Rara Neagra grape varietal which is in limited areas and is drought resistant and of a late harvest. The varietal produces a dark red color wine with a pronounced fruit taste coupled with spiciness. At $11.00 suggested retail, this was a particularly good value.  Another red I enjoyed was the Negru de Purcari from Vinaria Purcari 2010 vintage. It has a rich structure and generous bouquet. The legendary PURCARI winery is the oldest winery in Moldova, which in the early 1800s sent shipments of their reds to Queen Victoria. This particular red is a blend with 70% Cabernet comprising most of the grape varietal.

Pictures from the Walk Around Tasting

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Cricova

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Abestrele Wines

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Ampelos

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Asconi

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Chateau Vartely

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Castel Mimi

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Vinaria din Vale

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Purcari

Three vineyards are not pictured: 

1.BOSTOVAN,
2.LION-GRI
3.THE MOLDOVAN SMALL WINE PRODUCERS ASSOCIATION                                                                                
The tasting was an excellent opportunity for wine lovers to try wines they were unfamiliar with because of a glitch in geopolitical relations. As we continue to benefit from these events, US markets welcome the fine wines from this region devoted to its vineyards and its appreciation of great wine. After all, if it has the largest wine cellar in the world, it stands to reason that the value of delicious wine is not lost on this country.
This article first appeared on Blogcritics at this link.

‘This Will All Be Yours’ Book by Laura Pedersen, Music and Lyrics by Charles Bloom

In 1970  factory farms, big pharma, corporate land devastation and the deleterious effects of pesticides, herbicides and chemicals in our food and water supply were subterranean issues not publicized in the mainstream media.  Small family  farms dotted the landscape and the obsession with making profits in the face of human harm was only whispered about behind closed doors. By the 1980s-1990s there had been a paradigm shift. A bucolic, stress-free way of life , nutritious and delicious produce, nightly home cooked meals, mom and dad closely supervising their children, and a pastoral landscape had transmuted into a pressure cooker existence of traffic jams, subdivisions, less vacation time, processed convenience foods, parents working two jobs, and suburban over development in the wake of urban blight.

L to R: Josh Powell as Adam Price, Trevor St. John-Glibert as Jackson Webb in This Will All Be Yours by Laura Pedersen, Music and Lyrics by Charles Bloom at TBG Theatre. Photo by John Quilty.

L to R: Josh Powell as Adam Price, Trevor St. John-Glibert as Jackson Webb in ;This Will All Be Yours’ by Laura Pedersen, Music and Lyrics by Charles Bloom at TBG Theatre. Photo by John Quilty.

This Will All Be Yours is a vibrant musical production directed by Ludovica Villar-Hauser that highlights the beginning of this transitional time. It turns a brilliant, focused spotlight on the Price family farm in 1979 western New York, representative of many such family farms during a time of upheaval which is still happening today in different parts of the country.  Through an excellent musical score by Charles Bloom and pithy, rich book by Laura Pedersen,  we share the family’s personal triumphs and let-downs, as the two sons and the daughter are caught up in the swirling currents of social change which force the entire family to make hard choices. Should they transition into progress or risk falling into the doldrums of debt and a destruction of all that they and three generations of ancestors have worked hard to build up? Should they keep the farm?

L to R: Daniel Rowan, Trevor St. John Gilbert, Josh Powell, Amy Griffin, Jenny Rose Baker, Matt Farcher in This Will All Be Yours, directed by Ludovica Villar-Hauser. Photo by John Quilty.

L to R: Daniel Rowan, Trevor St. John-Gilbert, Josh Powell, Amy Griffin, Jenny Rose Baker, Matt Farcher in ‘This Will All Be Yours,’ directed by Ludovica Villar-Hauser. Photo by John Quilty.

Much of the story exemplifies themes that have become mainstay issues in our current society and indicate deeper problems with our cultural folkways. By implication these problems run deep even to encompassing the way we have accepted a lifestyle manipulated by corporations, industrial farming practices and the fast food and processed food industries.

Never brow beating us, Pedersen touches upon these ideas cleverly in whispers of truth that float like gossamer in the conversations of the family as they complete their various chores. For example, mom, Paula Price (a wonderful Amy Griffin), enjoys bragging about her recipe using the orchard’s delectable, fresh peaches, and subsequently there are follow up comments about the bland, no taste peaches in grocery stores that have been picked green to ripen in a truck. Of course, this lust for fruit and vegetables out of season, over the years has escalated to a negative chain of events from increasing our carbon footprint in food production, transportation costs and pollution, to all the woes concentrated around agri-business and its lobbyists fighting against GMO labeling, use of pesticides and herbicides, etc.  In the consumer desire for variety has come a lack of quality, nutrition and taste with the attendant environmental impact. Though all of this is unspoken by the characters because they cannot know the future, we do; we are living it and we understand how that folkway has perpetuated a negative result. Pedersen is subtle, but if one has eyes to see, the message is clear in what we are “planting” for our children.

The cast, composer, director and playwright of "The Will All Be Yours,' with the stage crew and orchestra. Photo by John Quigley.

The cast, composer, director and playwright of “The Will All Be Yours,’ with the stage crew and orchestra. Photo by John Quilty.

Another example  of threading themes occurs when father Adam (a dynamic Josh Powell) discusses how watermelons and peaches have to be made to please consumers. Watermelons must have few or no seeds-no one likes the seeds, and peaches must have “no fuzz.”  With these concepts Pedersen gently infers that in food production, the natural world has been modified to our liking. Ultimately, agri-business and industrial food production have accommodated suburbanites and mallsters, but at what expense to our own health, and to the health of the environment?

Though farmers dealt with these questions decades ago, recently we have begun to see the error of our ways. In a line that runs deep, Adam Price asks, “What comes of a nation that doesn’t want peach fuzz?”  Pedersen has beautifully revealed that all elements of a society are networked together starting with the land and how food is produced. Inherent is a love of the land and its spiritual value which those who have worked on it for generations truly comprehend and venerate. When the land, its creatures and natural crops are mowed down, tweaked, disdained and not properly respected, then what indeed are we creating for ourselves and our posterity?

Amy Griffin  with (back ground right), Josh Powell, Jenny Rose Baker, Matt Farcher. Background left: Trevor St. John-Gilbert. Photo by John Quilty.

Amy Griffin with (back ground right), Josh Powell, Jenny Rose Baker, Matt Farcher. Background left: Trevor St. John-Gilbert. Photo by John Quilty.

The production design, staging and the acting reflect a craft and ingenuity that is enhanced by the music and dialogue with energetic vitality. Through the director’s clever use of an economy of space, the actors brilliantly create the lives of their characters with fitting props that are incorporated into the musical numbers. The talented actors (Jenny Rose Baker, Matt Farcher, Daniel Rowan, Trevor St. John-Gilbert, Josh Powell and Amy Griffin), and their singing are spot on, exceptional. Theirs is a liveliness and enthusiasm not often found in musical productions where sometimes the direction pales, the actors tend to “park and bark,” and where there doesn’t appear to be much inner life or conflict. It is thanks to Ludovica Villar-Hauser’s thoughtful and attentive direction, the actors’ portrayals, and Pedersen’s succinct book that the storyline never becomes bogged down in the maudlin.

This is a production which should find additional venues because of its salient themes and overriding message about our accountability to ourselves and others in our culture, in what we allow, often mindlessly and with a lack of vision. The beauty of this production is that Pedersen’s message always remains hopeful and does not hit the audience over the head with cant and/or the rhetoric that we should “eat organic” and “buy local.” She achieves this with simplicity by telling the story of the Price family and how they are forced into an untenable position with their beloved farm because of a combination of factors, some ill some good. We are left with questions: Should this be? Doesn’t this impact all of us in the long term?

The title says it all: “This Will All be Yours.” The message gives us pause for indeed, what are we leaving for our grandchildren if we continue our current actions and policies? Hopefully, we are creating innovative ways to keep the best of what our forebears gave us, jettisoning all that is unfruitful; most importantly, recognizing the difference.

This Will All be Yours runs until August 7th.

This review first appeared on Blogcritics at this link.

The Long Shrift by Robert Boswell, directed by James Franco

 

L to R: Ally Sheedy, Brian Lally in 'The Long Shrift by Robert Boswell, Directed by James Franco. Photo by Joan Marcus.

L to R: Ally Sheedy, Brian Lally in ‘The Long Shrift’ by Robert Boswell, Directed by James Franco. Photo by Joan Marcus.

The Long Shrift written by Robert Boswell, directed by James Franco is currently at the Rattlestick Playwrights Theater. The production stars a powerful ensemble cast headed up by the always fascinating Ally Sheedy. The play which remains on a steady keel toward the surprising and revelatory deals with thorny issues which currently plague the culture of youth and its guardians. Recent articles in the New York Times have pinpointed one of the problems that Boswell broils us with in his interesting work: the topic of rape and holding the right individuals accountable, despite educational politics, unequal economic justice and parental and social pressures. More specifically, Boswell directs our attention to controversial sub issues raising the questions that need to be in the forefront of male-female relationships, regardless of whether the couples are married, partners, friends, or are simply “dating.” At the foundation of Boswell’s work, which investigates whether a rape has been committed is the concept of penance, forgiveness and the healing power of truth.

L to R: Brian Lally and Ally Sheedy in 'The Long Shrift' directed by James Franco. Photo by Joan Marcus.

L to R: Brian Lally and Ally Sheedy in ‘The Long Shrift’ directed by James Franco. Photo by Joan Marcus.

When the play unfolds, Sarah (Ally Sheedy), and husband Henry of 23 years (a well meaning and level headed Brian Lally), are unpacking boxes having just moved into a “hovel,”  Sarah’s description of an unadorned, lower middle class home which we gather from Sarah’s diatribe is a complete step down from their former residence. During the exposition we discover why Sarah is disgruntled and depressed, though Henry with good humor and good will tries to lift her from her doldrums. The couple have had to sell their lovely house to pay the lawyer’s fees to defend their son against a rape charge. Richard, (an excellent Scott Haze), a senior in high school, was convicted and Sarah and Henry have had to sell their home to pay their lawyer’s fees. They have since purchased another place and followed their son to the area of Huntsville, Texas where he is serving 9 years.

During the discussion about their son, we discover that Richard was a “fish out of water” in a tony, private high school amongst students of privilege, one of which was the young woman who accused him of raping her. Boswell sets the tone of mystery through the characterization of Sarah who profoundly questions her son’s innocence despite Henry’s loyal and simplistic love and the assurance that Richard has been falsely accused. Henry is amazed that Sarah doubts Richard and continually affirms that the victim is no “victim” for it was Beth (Ahna O’Reilly), who lured and teased Richard into consensual sex which she later denied because she enjoyed betraying their son in a perverse display of arrogant superiority. Henry believes Beth accused his son because she could; she is backed by the power and justice rendered by oodles of money and an attorney whose “air tight” case the jury swallowed because of the inherent differences between economic class and social culture: Beth was the prom Queen and Richard was a geek nobody.

Scott Haze and Ahna O'Reilly in 'The Long Shrift' by Robert Boswell. Photo by Joan Marcus.

Scott Haze and Ahna O’Reilly in ‘The Long Shrift’ by Robert Boswell. Photo by Joan Marcus.

Because Sarah intuits that Richard is hiding something from her, she cannot forgive him until he comes clean and reveals what happened between him and his accuser. Sarah manifests this stasis in her relationship with her son by refusing to visit Richard in prison. It is not an easy decision, but she is as stalwart about not seeing him as Henry is as supportive about visiting. The audience is engaged in the ready proclivity to accept Henry’s stance because of the truism that money talks and lots of money roars, and the audience questions Sarah’s decision not to visit her son. As Boswell draws Sarah’s character, it is clear that the mother has become hardened, for deep within, she is unable to stem her bleeding emotional wounds at having lost her innocent, beautiful son to the extent that she can’t bear to see him in prison.

What is superb about Boswell’s play, Franco’s direction and Sheedy’s performance is that elements of Sarah’s characterization play into the audience’s assumptions about the mother’s inability to withstand the pressures of circumstance to believe in Richard’s innocence. But as the play progresses, the characterization subtly deepens in a harkening back to the title. Sarah’s is the very tough love, where her husband’s is the sweet and understanding love. Indeed, Sarah is holding vigil for Richard’s truthful moment. It is only then he will be able to begin to heal and forge  a new life. So the mystery Boswell unfolds with subtext after subtext is not only whether Richard is innocent or guilty of the rape, but whether Sarah was correct in intuiting that he was not telling her the truth. And of course, the playwright keeps us wondering what is the truth that should be revealed? Is it so complicated? Turns out it is.

Scott Haze and Ahna O'Reilly in 'The Long Shift' by Robert Boswell. Photo by Joan Marcus.

Scott Haze and Allie Gallerani in ‘The Long Shift’ by Robert Boswell. Photo by Joan Marcus.

After this opening, Boswell breaks the play’s structure and fast forwards to years later during which time Sarah has died (she does appear in a brief scene with Henry in his dream state), and Richie has been released after 5 years because his accuser recanted her testimony. Gradually, the  mysteries are elucidated and eventually solved for lo and behold, the accuser, Beth, shows up at Richard’s door when he stays with his Dad to go to his high school reunion, a quasi-hero vindicated from the crime. What ensues when accuser meets accused is a grinding trauma of point and counterpoint, vilification and sorrow. Boswell shocks the play with a series of electric blasts which move in heightened power throughout: they begin with Richie, and continue with an indignant Henry who angrily confronts his son’s accuser and move in a crescendo to the climax. Adding to the storm, Boswell tricks in plot complications with Macy (Allie Gallerani), student class president and reunion coordinator who accompanies Beth to Richard’s. Macy presents a tempting offer that Richard give a speech to his former classmates explaining his innocence in the presence of his humbled accuser. Boswell’s characterization of Macy is an ironic symbol of the culture’s worst ideals. She exemplifies the warped mores which have contributed to Richard’s and Beth’s watery destruction in a corrupt social vortex that engulfed their dreams and lives.

During the remainder of the production we are left stunned again and again until the final moments of truth come. They are exacted at a heavy price of painful admission by Richard and Beth who finally face each other’s reality.

L to R: Allie Gallerani, Ahna O'Reilly, Brian Lally and Scott Haze in 'The Long Shrift.' Photo by Joan Marcus.

L to R: Allie Gallerani, Ahna O’Reilly, Brian Lally and Scott Haze in ‘The Long Shrift.’ Photo by Joan Marcus.

With dark humor, pathos and poignancy, and through gradual enlightenment, Boswell’s characters find their way out of the morass of anger, fear, regret and weakness surrounding the pivotal event which changed all of their lives. The ensemble has worked with absorbing, focused effort to bring this production toward powerful and truthful realism under the sterling and watchful shepherding of James Franco. Sheedy portrays Sarah with an ease of moment to moment precision that is a joy to experience. There is just enough restraint and humanity, pain and petulance undergirded with the appropriate amount of tension for us to doubt and believe her testimony about her son. We sense she is determined to keep the vigil to the bitter end despite what may happen, in a standoff to see the truth out. When Haze and and O’Reilly come together in confrontation after confrontation, we are drawn toward them and repulsed. We wonder at their honesty. We remain engaged. Brian Lally sustains the moderated support and kindness necessary to reveal Henry’s love for his son. Allie Gallerani is sufficiently  presumptuous, crass and obnoxious. Yet, she suffuses vulnerability when Richard turns the tables around and lures her with notes of sexual temptation.

This world premiere leaves us with much to consider. Do men and women understand the boundaries of consensual sex at the same level. Should they? Must we continue to tolerate the inequity of the justice system which allows power and money to influence, buy or nullify convictions? When lives are destroyed by deceptions, can the truth bring renewal? Each of these and many more themes are threaded through this fine production of  The Long Shrift, which is running until August 23rd.

This review appeared in Blogcritics at this link.

 

 

 

 

 

 

 

 

 

LPTW Annual Awards With Tamara Tunie, Audra McDonald, Tyne Daly, Zoe Caldwell

L to R: Tyne Daley, Tamara Tunie, Zoe Caldwell at the LPTW Awards Ceremony and Big Mingle. (Photo by Carole Di Tosti)

L to R: Tyne Daly, Tamara Tunie, Zoe Caldwell at the LPTW Awards Ceremony and Big Mingle. (Photo by Carole Di Tosti)

The old adage replicated in the song, New York, New York, is “If you can make it there, you’ll make it anywhere.” The city can be a tough, competitive town for theater folks who are not a part of the Yale Mafia or children of celebrities. That is why a not-for-profit organization like The League of Professional Theatre Women can provide a much needed support network for aspiring actors, directors, producers, costume designers and other women professionals in the industry. Annually the LPTW, gives awards to outstanding women whose dynamic efforts have proved to be an inspiration to league members. This year the LPTW Awards Ceremony and Big Mingle reception was held on March 10th at the Irene Diamond Stage at the Signature Theater. The ceremony, hosted by Tamara Tunie, (Law and Order’s Medical Examiner, Linda Warner), gave me the opportunity to learn about these accomplished, amazing artists and celebrate afterward with league members.

Award recipients included Meiyin Wang:  (The Josephine Abady Award) presented by Susan Feldman (founding Artistic Director of St. Ann’s Warehouse).  Katherine Kovner received The LPTW Lucille Lortel Award  presented by Leigh Silverman. Gregory Boyd presented The Ruth Morley Design Award to Judith Dolan.   Ambassador Cynthia P. Schneider presented The Lee Reynolds Award to Joanna Sherman who shared her uplifting work in conflict areas of Afghanistan, Haiti, Myanmar and Lebanon and how theater is being used to inspire women and bring them toward restoration after cultural upheaval.  Another interesting recipient of a special award presented by Mary Miko was Sondra Gorney. Sondra Gorney is 96 years young, looks wonderful, had a career in the performing arts and is a dedicated, active member of the LPTW.

L to R: Zoe Caldwell, Lifetime Achievement Award Winner (4 times Tony Winner) and Audra McDowell, (5 time Tony Award Winner) at the LPTW Awards Ceremony and Big Mingle. (Photo by Carole Di Tosti).

L to R: Zoe Caldwell, Lifetime Achievement Award Winner (4 times Tony Winner), and Audra McDonald, (5 time Tony Award Winner), at the LPTW Awards Ceremony and Big Mingle. (Photo by Carole Di Tosti).

Tyne Daly, (six Emmy Awards and one Tony award) a member of LPTW who is currently on Broadway in Mothers and Sons came out to join in the festivities with her colleagues. She was happy to give recognition to one of the finest theater actors to have graced Broadway and Off Broadway stages over the last decades: the inimitable and indomitable four time Tony Award winner, Zoe Caldwell.

Audra McDonald, friend and mentee of Zoe Caldwell presented her with the LPTW Lifetime Achievement Award. To say the award is deserving is a vast understatement. Zoe Caldwell who is from Australia is still acting; her career began when she was nine years old, which is an incredible testament to the beauty, industry and artistry her spirit embodies.

Before giving Zoe Caldwell the award, the exceptional Audra McDonald (five time Tony Award winner) who will be seen on Broadway in Lady Day (about Billie Holliday’s struggle through a performance in the last year of her life) spoke with great affection about her mentor. Audra McDonald who has named her daughter after Zoe. shared a heartfelt story about when they were in a production together in the 1990s. Audra McDonald had lost confidence when a celebrity had come backstage to visit Zoe Caldwell and treated Audra McDonald rudely. Audra McDonald was deferential and humble which fed the arrogance and superciliousness of the celebrity. After the individual left, Caldwell told McDonald something to the effect that though the woman may not have appreciated who Audra McDonald was, Audra should not give up her power to her. She, Audra McDonald, must be herself and act with her own natural confidence.

Years later, Audra McDonald, award winner, superlative Broadway star, has revealed what Zoe Caldwell knew her to be all along. Zoe Caldwell’s “lesson” in giving up power to those who would steal it if we allow them to is a lesson for all women and certainly for all time.

LPTW AUCTION CO-CHAIRS, Pat Addiss and Mari Lyn Henry, did a yeoman’s job arranging, organizing and setting up the LPTW online auction.

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Pat Addiss (here receiving the TRU Spirit of Theater Award: http://worksbywomen.wordpress.com/2010/11/15/pat-addiss-receives-tru-spirit-of-theater-award/) is very active with the LPTW. She is the producer of such award-winning shows as Vonya & Sonia & Masha & Spike; Buyer & Cellar and A Christmas Story, The Musical, returning in Nov. 2014.  She also produced the film Sex, Death and Bowling (dist. 2014).

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Mari Lyn Henry is the Dean of Students, Tom Todoroff Conservatory. You will find information about her at the website: http://howtobeaworkingactor.com/

The online auction is designed to raise money for theLPTW foundation. The Celebrity Chair of the auction was Tyne Daly who worked with the co-chairs. There were 100 items auctioned which included a beautiful Ruth Morely one-of-a-kind costume sketch, Broadway Tickets, Backstage Tours & Meet the Stars, Off and Off Off Broadway Tickets, Restaurant Deals, Consultations and Coaching Sessions and Getaway Packages to name a few. Auction donors included private individuals, organizations and associations.

Award winners and presenters. LPRW Awards Celebration & Big Mingle. Photo by Carole Di Tosti

Award winners and presenters. LPRW Awards Celebration & Big Mingle. Photo by Carole Di Tosti

The LPTW remains an extremely active educational and networking association during the years. Events that are upcoming for the LPTW include the LPTW Gilder/Coigney International Theatre Award which will be given to Patricia Ariza, Colombia, South America. The award is given to an exceptional woman theatre artist working outside the U.S.

There are “Networking Mondays Quarterly,” Julia’s Reading Room from September through June: a program that provides opportunities to League playwrights, librettists, directors, actors, and producers to for works in progress to be read. There are special programs, panels and lectures that are educational opportunities offered to members and the community which highlight women theater professionals past and present. The LPTW also publishes a magazine, “Women in Theatre Magazine and of course, has an online site. The association is constantly striving for its members and is the place where women in theatre need to be to share, network and dip into the fountain to replenish themselves

‘Dark Water’ by David Stallings A Play of Impact and Power About the BP Oil Spill

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L to R: Dianna Martin and Chester Poon in Dark Water by David Stallings at The Theater at the 14th Street Y. Photo by Louise Flory.

The BP oil spill in the Gulf of Mexico was a tragedy that we are still reeling from. The riverfront and Louisiana wetlands were forever changed. The area’s ecosystem has been seriously compromised and devalued; the fishing and shellfish industries are crippled. However, out of the public spotlight, it’s business as usual spurred on by “the corexit” which dispersed the oil to the sea floor and like magic, “all was out of sight, out of mind.”  Only those who are part of the clean up process, the scientists, the researchers, those working with the EPA, those who live on or near the water and those in university settings who are familiar with the lasting damage of oil spills and the toxic impact of corexit understand the disastrous consequences that, like dominoes, are still toppling throughout the region. Those folks understand but their voices have not been heard above the din of other distractions. They understand, and the halt, maimed, blind animals (chemical mutations) and marine life understand. Daily, they have to experience the toxic “corexit correction,” and the complete alteration of their shelters, food supply and way of survival.

L to R:  Emily Hartford and Stephen Conrad Moore in Dark Water by David Stallings at The Theater at the 14th Street Y. Photo by Louise Flory

L to R: Emily Hartford and Stephen Conrad Moore in Dark Water by David Stallings at The Theater at the 14th Street Y. Photo by Louise Flory

Dark Water by David Stallings, directed by Heather Cohn enjoying its premiere at The Theater at the 14th Street Y, takes us back to the initial spill and reexamines the event from the perspective of the animals and marine life. Through them we acknowledge their reactions, their attempt to comprehend the incomprehensible, and their hopeful struggle to survive despite the creeping “dark water” which moves toward them in a massive, viscous wave of suffocating, burning death.

Mother turtle Barnacle (a determined Dianna Martin) faces a conundrum. She is with her son Weed, but she has left her babies, Weed’s sisters, on an island in the gulf to keep them safe from the spewing dark water. She has told her children she will come back for them to take them to a better place, but the dark water is consuming everything in its path and she is afraid she will be too late. Barnacle drops off Weed (Chester Poon) on another island that appears to be far from the danger, leaving him with Foam (Erica Lauren McLaughlin). Foam, who has been enslaved by Clam (Susan G. Bob)  learns freedom as a result of a loving relationship with Weed. Weed convinces Foam to go with him to find and help Barnacle.

L to R:  Kathleen O'Neill, Dianna Martin, Chester Poon in Dark Water by David Stallings at the Theater at the 14th Street Y. Photo by Louise Flory.

L to R: Kathleen O’Neill, Dianna Martin, Chester Poon in Dark Water by David Stallings at the Theater at the 14th Street Y. Photo by Louise Flory.

Before and during Barnacle’s and Weed’s travels, Barnacle has to protect her son while confronting predatory, conniving and dangerous enemies whose habitat is being threatened by the dark water. These birds of prey have grown cruelly rapacious and wanton. Gullet (the foreboding and noxious Brian Silliman) and Blue Heron (an excellent Kathleen O’Neill) connive with arrogance, tyranny and presumption. Barnacle remains strong. She endures and outsmarts these and others who plan to either eat her or Weed. Though some animals and marine life have been driven to desperation out of fear of the rapidly moving dark water destroying their food supply, there are others who remain noble and kind. There is the sweet dolphin, Daedalus (a beloved Antonio Minino), and the prophetic Sea Urchin (Emily Hartford) who gives wise counsel to Barnacle. The highpoints in the conflict create suspense. Will Daedalus who must swim through the entangling, engulfing thickness with Barnacle on his back be able to get to the island in time? Will Barnacle find Weed and will they rescue her daughters before they are all suffocated by the slimy, black ooze?

L to R: Chester Poon and Erica Lauren McLaughlin in Dark Water by David Stallings at The Theater at the 14th Street Y. Photo by Louise Flory.

L to R: Chester Poon and Erica Lauren McLaughlin in Dark Water by David Stallings at The Theater at the 14th Street Y. Photo by Louise Flory.

In Dark Water, Stalling’s message and themes are neither preachy nor easily dismissed. His anthropomorphic characters are like us. We are able to identify in his metaphor riot the best and the worst of human traits: maternal and filial love and sacrifice, rapacity, fear, desperation. On the other hand Stallings has found a unique way to differentiate his marine life characters from humans; they speak in verse. These other life forms express their desires, intents, hopes and fears in exacting rhymes. At times the verse is more rhythmic and poetic, at times not and there are no rhymes. His selection rises to necessity depending upon the unfolding action and events. His dialogue versification is interspersed with a few songs, a short dance and a choreographed fight sequence.

Emily Hartford in Dark Wter by David Stallings at The Theater at the 14th Street Y. Photo by Louise Flory.

Emily Hartford in Dark Wter by David Stallings at The Theater at the 14th Street Y. Photo by Louise Flory.

These clever devices are packed with meaning and enhance the themes of this parable which is simple, direct and powerful. Stallings infers that though there are similarities between marine life and man, essentially, these other beings which we deem “dumb brutes” who are as “disposable” as flotsam and jetsom, are to be appreciated as beautiful and poetic creatures integral to the loveliness of the natural realm. By having them speak in verse, Stallings’ impulse is to magnify their preciousness and sanctity. For do we not ultimately depend on them for our sustenance? Throughout the play Stallings’ threads the question, “Do we have any idea of what we are really doing when we risk allowing such a disaster?”

Brian Silliman in Dark Water by David Stallings at The Theater at the 14th Street Y. Photo by Louise Flory.

Brian Silliman in Dark Water by David Stallings at The Theater at the 14th Street Y. Photo by Louise Flory.

Stallings’ choices are stylistically daring and unusually effecting. By the end we realize we are watching in these characters’ struggles for survival something akin to a Greek tragedy and all the more so because they are innocent creatures and have had no hand in what we have done. However, unlike some Greek tragedy, there is no Deus ex Machina (a god coming to the rescue of the protagonist). How can there be when the human “gods” are the executioners? And what they are executing is their own eventual destruction by first harming the creatures that maintain the ecosystems of the planet.

The fundamental theme expressed by Stallings’ title and how the dark water impacts the marine life evokes the symbolism of a darkness that is all encompassing. By extension we understand that this is an amorphous evil represented by man’s primordial lust for profit at the expense of life itself. Stallings ultimately suggests that If we continue to allow such a tangibly felt wickedness to overtake our rationality and common sense, then surely we do not have to fear an apocalypse. It has already happened in the overtaking of the human heart. Unless it is ameliorated, we are dooming ourselves and the fabric of our own culture and environment for future generations.

Dark Water will be at The Theater at the 14th Street Y until March 29th.

Ensemble: Brian Silliman, Dianna Martin, Chester Poon, Antonio Minino, Susan G. Bob, Erica Lauren McLaughlin, Kathleen O’Neill, Lily Drexler, Stephen Conrad Moore, Emily Hartford

This review first appeared on Blogcritics.

 

The Pig or Vaclav Havel’s Hunt for a Pig in NYC, Adaptation by Edward Einhorn, Directed by Henry Akona

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Some of the freeing graffiti digital projections.

For my review, of this entertaining, absurdist and wonderful avant garde production, look for it on Blogcritics or on All Along the NYC Skyline. It is in town until March 29 at the 3LD Art + Technology Center. The pre-show is 20 minutes, the show is 1 hour and the post-show is 25 minutes. This is a 3LD Art + Technology Center and Untitled Theater Company #61 production. And it is smashing.

The Cabaret Metropole at the post-show of The Pig or Vaclav Havel's Hunt for a Pig at 3LD Art + Technology Center.

The Cabaret Metropole at the post-show of The Pig or Vaclav Havel’s Hunt for a Pig at 3LD Art + Technology Center.

Cabaret Metropole in full swing at 3LD Art + Technology Center. It's a jubilee, The Pig or Vaclav Havel's Hunt for a Pig, a joyful and revolutionary production cum celebration.

Cabaret Metropole in full swing at 3LD Art + Technology Center. It’s a jubilee, The Pig or Vaclav Havel’s Hunt for a Pig, a joyful and revolutionary production cum celebration.

The Pig or Vaclav Havel's Hunt for a Pig by Vaclav Havel and Vladmir Moravek, adapted by Edward Einhorn, direction and musical arrangements by Henry Akona, at 3LD Art + Technology Center.

The Pig or Vaclav Havel’s Hunt for a Pig by Vaclav Havel and Vladmir Moravek, adapted by Edward Einhorn, direction and musical arrangements by Henry Akona, at 3LD Art + Technology Center.

‘The Pig or Vaclav Havel’s Hunt for a Pig’ by Vaclav Havel and Vladimir Moravek in NYC

Robert Honeywell with the Cabaret Metropole

Robert Honeywell with the Cabaret Metropole

3LD Art and Technology Center and Untitled Theater Company #61’s production of The Pig or Václav Havel’s Hunt for a Pig by Václav Havel and Vladimír Morávek is nothing short of a work of wry genius. Edward Einhorn who adapted the play into English was instrumental in re-imagining this work for an American audience.

Wonderfully directed by Henry Akona, the production incorporates multi-media, in heightened artistic expression. The innovative and interesting forms elevate and enrich the themes culminating in an empathetic celebration of freedom. To achieve this heightened aspect, all the arts are represented: the dance, live instrumental music, stylistic cabaret songs, tweaked rock songs (i.e. “I’m Waiting for the Man” by the Velvet Underground) light opera, graffiti art video projections, closed-circuit TV, and ironic, comedic structure with a deep underlying message. The musicians/dancers/actors/artists/technicians ingeniously employ their talents in these forms to create a unique and transformative experience for the audience. United psychically, the audience and players collaborate in the jubilee. It is as if they are participating in a necessary cultural revolution, creating their own inner moments of reform for our time in our country. The production massages all the senses, even the sense of taste and smell; there is pig in a delicious langos of pulled pork, (and a vegetarian langos for those empathizing with the pig), as well as beer and sweets for the finale…touché.

L to R: Robert Honeywell, Phoebe Silva, Michael Whitney, Terrence Stone, Emily Shankman, Christopher Yustin, Jennifer Harder, Jenny Lee Mitchell, Sandy York and Katherine Boynton in The Pig or Václav Havel’s Hunt for a Pig at 3LD Art +Technology Center. Photo by Arthur Cornelius.

L to R: Robert Honeywell, Phoebe Silva, Michael Whitney, Terrence Stone, Emily Shankman, Christopher Yustin, Jennifer Harder, Jenny Lee Mitchell, Sandy York and Katherine Boynton in The Pig or Václav Havel’s Hunt for a Pig at 3LD Art +Technology Center. Photo by Arthur Cornelius.

In a simplistic form the plot of this musical, dance, “dinner theatre” production is that Vaclav Havel searches for the right sized fresh, live pig sourced from the local farmers so that he can invite his friends for a roast and of course, conduct at artistic salon which emblazons and uplifts the cause of independence. The problem is that Havel cannot settle with a farmer on securing the right pig. The moment he thinls he has purchased it, either the price goes up or the pig is the wrong size or another factor squelches the deal. Running simultaneously with this plot line is the one for the operetta The Bartered Bride. The bride’s marriage is uncertain because all of the details cannot be worked out. Cohering events and plots is a  journalist (Katherine Boynton) who interviews the bride-to-be (Moira Stone) and her groom-to-be (Terence Stone) and Havel (Robert Honeywell) about the process of the events and action. The symbolism of seeking something that becomes unattainable is present and the journalistic news reports with scrolls on the bottom of the closed circuit TV screens are sardonically in keeping with the absurd events and mishaps and convolutions of action which, of course, are accompanied by singers, musicians and dancers. For this is a jubilee, after all, and a superlative hint at the revolution which isn’t supposed to be happening, which of course is. Indeed, the very hunt for the pig and the ill conceived matrimonials are revolutionary.

L to R: L to R: Robert Honeywell, Katherine Boynton and Mateo Moreno in The Pig or Vaclav Havel’s Hunt for a Pig at 3LD Art and Technology Center. Photo by Arthur Cornelius.

L to R: L to R: Robert Honeywell,
Katherine Boynton and Mateo Moreno in The Pig or Vaclav Havel’s Hunt for a Pig at 3LD Art and Technology Center. Photo by Arthur Cornelius.

Edward Einhorn is well acquainted with Václav Havel’s works. In his collaboration with the Untitled Theater Company #61, The Havel Collection, a five-volume set of new translations of Havel’s plays, has been published. Their  intimate knowledge of Havel’s work was demonstrated during their 2006 Havel festival in NYC. As a result it was not surprising when in 2010 upon request of Václav  Havel, Einhorn was flown to The Czech Republic to see the premiere of The Pig or Václav Havel‘s Hunt for a Pig that was the centerpiece of a June theater festival in Brno. What Einhorn experienced while watching the production at the Brno festival gave birth to Akons’ and Einhorn’s conceptualization which four years later is appearing at 3LD  in this soul-lifting, interactive, multi-media English version.

This production has been effected like Havel effected The Velvet Revolution swirling into the independence manifested by The Czech Republic. Initially, Havel wrote a humorous dialogue about how he tried to get a pig for a roast to celebrate a feast with his friends. (Is the pig metaphoric?)  The sketchy 1987 dialogue appeared in an “underground” magazine; during Communism it was surreptitious photocopies of photocopies. In 2010 Vladimír Morávek  rediscovered the dialogue, staged it and the idea grew and developed a life of its own in an all encompassing production.

L to R: Katherine Boynton, Moira Stone, Terrance Stone in The Pig or Václav Havel’s Hunt for a Pig at 3LD Art and Technology Center. Photo by Arthur Cornelius.

L to R: Katherine Boynton, Moira Stone, Terrance Stone in The Pig or Václav Havel’s Hunt for a Pig at 3LD Art and Technology Center. Photo by Arthur Cornelius.

Morávek added more characters who were then seamlessly interwoven into sections of a Czech operetta, The Bartered Bride. The operetta is a nationalistic work from the 1860s written in the Czech language; it was a groundbreaking move toward independence in defiance of the Austro-Hungarian empire’s rule over them, for the Czech language was never the language spoken. The comedic action of Havel trying to buy a pig for his roast and the plot of the folk opera of a bride who may or may not get married and be at her wedding were beautifully fused together in the Havel/Morávek production. Czech past and present were affirmed with dry humor and celebration reaffirming that the independent spirit of the Czech people can never be contained.

What Einhorn witnessed in the 2010 Czech premiere of The Pig or  Václav Havel’s Hunt for a Pig was an amazing tribute to Czech history and the uplifting of the Czech spirit over oppression. From the Austro-Hungarian Empire, through fascism, through communism, through The Velvet Revolution (the Czech overthrow of the old regime after the Berlin Wall fell), and the eventual emergence after Havel gained the presidency to the forming of The Czech Republic, freedom was ever present. In seeking a path to define their own way out from control, the Czech people had already defined themselves. It was only a matter of going.

L to R: Robert Honeywell (sitting) and John Gallop in The Pig or Václav Havel's Hunt for a Pig at the 3LD Art and Technology Center. Photo by Arthur Cornelium.

L to R: Robert Honeywell (sitting) and John Gallop in The Pig or Václav Havel’s Hunt for a Pig at the 3LD Art and Technology Center. Photo by Arthur Cornelium.

Though communism brutally suppressed any outward show of freedom in 1968, the spirit was roiling underneath in the cultural currents. In a slap dash seemingly random style, Havel, an artist, and others moved on a path from which there was no turning back. Havel recognized that despite domination by others, independence was the only inner path the culture knew to truthfully follow toward the light. From their seeking of it in the 1860s to their gaining it after the Berlin Wall fell, their generational energy is transparent. Anyone looking closely at their culture and ethos would know the eventuality of this demonstration of the Czech spirit coming to pass. Independence and freedom could not and would not be stopped. What is interesting to comprehend in its greatness is that it was fomented via the arts. The 3LD Art & Technology Center and the Untitled Theater Company #61 production of Václav Havel’s Hunt for The Pig underscores how the arts are paramount in fomenting independence and freedom.

By adapting the play using all the forms of artistic expression in this production, Henry Akona, Edward Einhorn and the incredibly talented production team and ensemble are not only shouting out Václav Havel’s legacy, they are reminding us of our own. They are encouraging the expression of our inner drive toward independence and self-definition through the arts, innovation and interactive media. They are hearkening us to establish and maintain a cultural and political unity between and among enlightened artists, innovators, techies, writers, dancers, musicians, singers, cabaret stylists, indeed anyone who manifests his or her expression of independence and freedom through any medium, modality or tool. As this expression grows widespread, its currents flow globally. Other global artists are inspired and renewed by the uplifting spirit winds. Reform and transformation are rebirthed again and again, and there is a renaissance of interaction which reinforces the very deepest part of the human spirit to overthrow the most trenchant, nullifying and damaging impulses of materialism soaked oppression.

The Pig or Václav Havel's Hunt for a Pig at 3LD Art and Technology Center. Photo by Carole Di Tosti

The Pig or Václav Havel’s Hunt for a Pig at 3LD Art and Technology Center. Photo by Carole Di Tosti

Václav Havel and the Czech Republic’s inspiring revolution led predominately by artists against the Philistines, is an example for all time. By revisiting it again and again, in such works as Václav Havel’s Hunt for a Pig, we are encouraged not to despair of the oppressive political vicissitudes of our time. In the play by Havel and Morávek  and in this production Einhorn and Akona counsel us not to accept the lies and gross injustices of a ruling political oligarchy which prizes money and profits over people’s welfare. Our history has shown that like the Czechs, Americans have been driven to achieve freedom, equity and justice. Einhorn and Akona’s production strengthens us to continue the fight against similar types of power domination that the Czechs faced and overcame. As the struggle toward overthrowing lies and hatred transformed and rebirthed us, in the past, we, with innovators and artists must continue this work in unity so additional change is achieved in an ongoing process. Ultimately, the work is in freeing each human heart through vehicles of the arts. This is a work that is never finished.

This wonderful digital projection of artwork states (in the middle of John Lennon's forehead) "the revolution will never be televised."

This wonderful digital projection of artwork states (in the middle of John Lennon’s forehead) “the revolution will never be televised.”

Along the way there is the jubilee and a constant reminder of the distance traveled;  there is the pig roast to which we call our friends in a celebration of the past that has morphed into and melded with the present. The feast encompasses historic and ongoing revolutionary action. It represents a lifting up after tearing down the walls of hypocrisy. Each transformation brings on the next wave of action, and that wave inspires and energizes us to continue ferreting out the lies. For where there are lies, there can be no good thing for anyone, least of all those who control with lies. As Havel believed, “truth and love must prevail over lies and hatred.” Only truth and love benefit the cross-cultural whole.

This is a smashing must see jubilee for the joy, the revolution, the transformation, the brilliance. It is running at the 3LD Art + Technology Center until March 29th.

The review first appeared on Blogcritics.

23rd New York Jewish Film Festival, ‘The Jewish Cardinal.’ NY Premiere

Laurent Lucas as Aaron Jean-Marie Lustiger in The Jewish Cardinal, directed by Ilan Duran Cohen at the 23rd New York Jewish Film Festival

Laurent Lucas as Aaron Jean-Marie Lustiger in The Jewish Cardinal, directed by Ilan Duran Cohen at the 23rd New York Jewish Film Festival

The New York Premiere of The Jewish Cardinal (Le Metis de Dieu) screened three times at the 23rd New York Jewish Film Festival. As word of mouth spread, the second and third screenings were sold out and the wait list line on the last screening day was very long. Praise for the film and the director’s live Q & A sessions escalated the audience turn out. At the third screening, the film received hearty applause which demonstrated that it was one of the festival’s fan favorites.

Directed by Ilan Duran Cohen, who also co-wrote the screenplay with Chantal Derudder, the film is a fascinating account of Archbishop of Paris, Jean-Marie Lustiger (1981-2005). Lustiger was born Aaron Lustiger to Ashkenazi Jewish parents living in France. Lustiger at 13 converted to Catholicism over his father’s protests and attempts to rescind his baptism. He rose in the hierarchy of the Catholic Church to become one of its most outspoken and prominent Cardinals, helping Pope John Paul II tackle vital issues of the day politically and globally. The film focuses on the period from Lustiger’s appointment as the Bishop of Orleans until he receives his appointment as Cardinal, The Archbishop of Paris, a position he held until he retired in 2005.

The filmmaker is careful with the memory of Jean-Marie Lustiger, attempting to round what is know of him, a man whose fascinating and surprising journey in life can only benefit our cultural understanding. A testament of Cohen’s brilliant care is evidenced by the enthusiasm with which the film was received at this festival, a combined effort by the Jewish Museum and The Film Society of Lincoln Center. The hope is that Cohen’s message, which is the same as Lustiger’s, will be shouted far and wide.

The Jewish Cardinal, directed by Ilan Duran Cohen.

The Jewish Cardinal, directed by Ilan Duran Cohen.

In his introduction to the screening, Cohen simply stated that the film is “about reconciliation.” Indeed, in Lustiger (wonderfully rendered by Laurent Lucas), there is the reconciliation of the two faiths, Judaism and Christianity, and there is revealed the hoped for reconciliation between himself and his father, who were in conflict. Charles Lustiger was devastated by Lustiger’s choice to convert. Nevertheless, Charles was very proud of his son’s independence, his integrity and his perseverance in attempting to show love and forgiveness without compromising his birthright as a Jew. Lustiger makes it clear to everyone that he has converted to Catholicism, but he will never renounce his Judaism. He is a Jew and he is a Catholic. It is his choice and the film intimates why it makes sense for him. During the film we learn that Lustiger is practicing and strengthening his Hebrew and attempting to understand Christianity’s growth and development out of Judaism with Christ as the lynchpin joining both faiths. The film is brilliant in revealing Lustiger’s struggle for reconciliation despite opposition and denunciations from Jews and Catholics. Cohen shows us Lustiger’s humanity and reveals the instances when either his temper or his cowardice overcame him and he nearly faltered in his drive toward uplifting Judaism and Christianity with love, understanding and integrity.

Larent Lucas as Jean-Marie Lustiger in The Jewish Cardinal

Laurent Lucas as Jean-Marie Lustiger in The Jewish Cardinal

Rather than reveal Lustiger’s life chronology, Cohen elects to begin when he was vicar of Sainte-Jeanne-de-Chantal (1969-1979) in the wealthy 16th arrondissement of Paris with his parochial vicar Andre Vingt-Rois who later succeeded him as Archbishop of Paris when Lustiger retired. He is beloved of his parishioners who affectionately refer to him as “the bulldozer” because of his temper and at times his determined views. We learn later that these are a few of the reasons Pope John Paul II entrusted him with the position of Bishop Orleans. In addition his views are similar to the Pope’s and run counter to some of the French clergy with whom Cardinal Paolo Bertoli (he recommended Lustiger to the Pope) is on bad terms.

After 15 months and much consideration Jean-Paul II notifies Lustiger he will be the Bishop of Orleans. It is a magnificent gesture because Orleans is where Aaron Jean-Marie was baptized into the Christian faith. This act appears to be ordained by God, however, there is an overriding problem and the filmmaker reveals it immediately. Will Charles Lustiger (Henri Guybet) be present at his son’s appointment as Bishop of Orleans? The conflict is clearly revealed when Lustiger visits his father. There are old wounds between the two and there is a bitterness that the father holds for his son. There are emotional hurts Lustiger feels in his father’s non acceptance; he also feels the guilt of letting his father down. However, Cohen makes clear the obvious great love between them and the sacrifice that each is making to attempt to get along when estrangement would have been much easier for both, though it would have left father and son with regrets and sorrow. Lustiger’s female cousin Fanny (Audrey Dana) is a mitigating force and at times acts as the go-between behind the scenes to soften both men to be more supportive and understanding of each other.

Laurant Lucas as Jean-Marie Lustiger in The Jewish Cardinal

Laurent Lucas as Jean-Marie Lustiger in The Jewish Cardinal

Screenwriters have made excellent choices in keeping Jean-Marie’s past, his decision to convert, his mother’s move back to Paris during WWII to keep the business running, and his time in unoccupied France until 1945 in the shadows.

There are only a few flashbacks which coincide with emotional hurt or an eruption of feelings not yet dealt with in the present or a clarification of the time period. Instead, the dialogue between the father and son elucidates more of what happened in the past: Giselle Lustiger being deported to Auschwitz where she was killed; the father staying in safety with the children in unoccupied France. These moments are used sparely to reveal Jean-Marie’s relationship with his father. And gaps are left about Jean-Marie’s conversion; a spiritual experience is alluded to which is thought provoking. More important is Jean-Marie’s attempt to reconcile himself with his father before he dies and Jean-Marie’s developing relationship with the Pope which is fascinating.

L to R: Aurole Rondieg and Laurant Lucas in The Jewish Cardinal

L to R: Aurélien Recoing and Laurent Lucas in The Jewish Cardinal

Naturally, during his initial conversation with the Pope (a dynamic and believable Aurélien Recoing) he asks whether he was appointed because he was Jewish; he repeats he has made it known that he will not renounce his Judaism though he has chosen to convert to Catholicism. That Jean-Marie is a strong man of courage is made clear and Cohen’s and Derudder’s characterizations of Lustiger and the Pope set up the problems that are to come later in the film. Both must work together to solve the conflicts or there will be disastrous results between global Catholicism and Judaism. However, during this initial visit, we come to understand the brilliant Pope’s vision for France. With Lustiger who eventually will be moved up to the position of Archbishop of Paris, the Pope hopes to restore Catholic France and bring unity amongst believers. It is an uncanny appointment which has later repercussions and which eventually is crucial to facilitating the eventual fall of communism. The fall of communism is the most vital of goals in the Pope’s intentions for Poland and for religious believers globally.

Without Jean-Marie Lustiger’s presence as a reconciler upholding Judaism and Catholicism in the position of Archbishop of Paris, other events may have occurred which would have exacerbated animosity between Jews and Polish Catholics delaying the fall of communism and creating a cultural/religious backlash when cooperation was most needed. How Cohen reveals this is nothing short of revelatory. For those who follow Judaism or Christianity or both, they will most likely agree with Jean-Marie Lustiger that it was God’s will that he was appointed Bishop of Orleans and then Archbishop of Paris. Cohen’s true-to-life storytelling is uplifting. He reminds us of the possibilities for goodness if there is respect, love and forgiveness between and among cultures and those of faith.

This review first appeared on Blogcritics.

23rd New York Jewish Film Festival, ‘The Strange Case of Wilhelm Reich.’ NY Premiere

Klaus Maria Brandauer as Wilhem Reich in The Strange Case of Wilhem Reich, directed by Antonin Svoboda

Klaus Maria Brandauer as Wilhem Reich in The Strange Case of Wilhem Reich, directed by Antonin Svoboda

The New York Premiere of The Strange Case of Wilhelm Reich, starring award winning actor Klaus Maria Brandauer, and directed by Antonin Svoboda, received enthusiastic applause after its screening at the 23rd New York Jewish Film Festival. After the screening, Svoboda answered questions from the moderator and audience who were fascinated by the intriguing film. The movie uncovers aspects about Reich during the last years of his life. These are not widely known and they hint that a grave injustice was done to him by the government in its Red Scare period from 1947-1957.

Reich is considered one of the most radical figures in the history of psychiatry. Whether you speak with conventional medical adherents or alternative medical scientists, doctors and researchers, Reich is a controversial figure. Certainly, the film begins to clarify the man and his work attempting to put aside some of the negative rhetoric about Reich and align the forward thinking and vital aspects of Reich’s accomplishments: he noted the damaging effects of radiation (1950s); he identified the validity of Eastern medicine’s use of Chi and applied its understanding to his orgone theories.

Antonin Svoboda, Director of The Strange Case of Wilhem Reich, Q & A at the 23rd New York Jewish Film Festival

Antonin Svoboda, Director of The Strange Case of Wilhelm Reich, Q & A at the 23rd New York Jewish Film Festival

Audience members may have had a conceptualization of Reich’s life and work based on mainstream media’s coverage of the Austrian psychoanalyst, whose work initially was built upon Sigmund Freud’s as a member of the second generation of psychoanalysts. In 1947, a freelance journalist disgruntled with psychoanalysis wrote the article “The Strange Case of Wilhelm Reich”(the film’s title), which appeared in The New Republic.

Reich’s work and therapies using orgone energy were mischaracterized and discredited, and he was labeled a cultist that should be “dealt with.” The article drew negative press attention, and eventually an FDA investigation into his beneficial claims of orgone energy use, which led to his eventual arrest. Four years after Reich’s death, New York publisher Farrer, Giroux and Strauss republished Reich’s major works. Along with the publishing of his books, interested physicians and researchers organized study groups and an associate, Dr. Elsworth Baker (1903-1985), set up the bi-annual Journal of Orgonomy, which is still published today. In 1968 Baker founded the American College of Orgonomy in Princeton, New Jersey, to train physicians in orgonomic therapy.

Svoboda and Rebecca Blasband have written a screenplay that explicates Reich’s “strange case” by moving through important events in his life, though not in chronological order. The film begins with Reich in the Arizona desert using a “cloudbuster” he has developed to test its impact on climate change. We learn during the course of the film, he has used it successfully elsewhere and wants to gauge whether the success will be able to be duplicated under the more extreme desert conditions. From this initial introduction, we understand Reich is a researcher of great curiosity, openness and inventiveness.

Wilhem Reich (Klaus Maria Brandauer) on trial in The Strange Case of Wilhem Reich, directed by Anton Svoboda.

Wilhelm Reich (Klaus Maria Brandauer) on trial in The Strange Case of Wilhelm Reich, directed by Anton Svoboda.

The arc of the film cobbles together episodes from the past, switching to the present to allow us to piece together his story like a puzzle, which eventually becomes whole by the film’s end. The plot movement is revelatory, interesting. The intricacy is appropriate because human beings are supremely complex, especially ones who are controversial, forward thinking and perhaps brilliant. The filmmaker’s tone is one of fairness desiring to “give Reich his due” and this method of story telling is powerful, mysterious and moment to moment, trumping the linear chronology of the usual bio-pic for the unusual. It is somehow appropriate for this “strange” man who perhaps was not so strange after all.

After the initial scene in the desert, the film  moves to a flashback of a young Reich speaking before an illustrious group of colleagues presenting his controversial findings; they groan and sigh loudly in response to his discussion. Thus, began the schism between himself and the psychoanalytic community with which he was once unified. With this brief presentation and his medical fellows’ negative responses, the filmmaker references that from the 1930s onward, Reich became an increasingly controversial researcher and psychoanalyst who was assiduous in not resorting to group think, inflexibility or slavish compromise. He was courageous in forging out on his own, finding like-minded individuals to work with.

Brandauer’s moderated, exceptional, understated yet dynamic performance reveals that Reich was not concerned about acceptance into the medical power structures that held sway in mainstream research medicine and mainstream psychiatry. The director/writer selected the events that reveal Reich detested playing politics and was his own man. Concerned with helping humanity and not puffing up his career institutionally, he believed that he had discovered a process that was more efficacious, beneficial and much less harmful than the current conventional medical practices being used. Outside of the hierarchy of conventional psychiatry, Reich assiduously continued with his research, enjoying wherever it led him which eventually was to Maine to found Orgonon (named after the town) where he built a laboratory, cottage and other buildings to study orgone energy. Today Orgonon comprises the Wilhelm Reich Museum, and cottages, one being the cottage Reich lived in with his family.

The Strange Case of Wilhem Reich, directed by Antonin Svoboda.

The Strange Case of Wilhelm Reich, directed by Antonin Svoboda.

Predominately through episodes of flashback woven in with the present, the film focuses on the last years of Reich’s life in Maine, dissecting his arrest for contempt of court, the psychiatric evaluation, mainstream medical psychiatric practice in juxtaposition to Reich’s, the trial and the final outcomes.

The filmmaker devotes some attention to Reich’s orgone studies in Maine, his work with orgone boxes and their curative results on a farmer and his wife; these scenes are mingled with the scenes in the present. Other flashbacks include his reconciliation with his daughter Eva (Julia Jentsch) after years of estrangement, his relationship with his wife and partner, his loving relationship with his son.

We also see his relationship to his assistants, avid researchers and loyalists, except for the two who are spies for the government, one of whom was intimidated into providing information against Reich. These important episodes ground Reich in the reality that he is a man of observation and keen intelligence, a loving family man who is at peace with himself, that he is essentially trusting and is happy to engage others in his work. It is also made clear that because Reich is outside the mainstream of the medical establishment, he may be interpreted to be a danger and threat to it. Additionally, his observations about the effects of radiation testing and writings did not sit well with the Atomic Energy Commission during this time of McCarthyism and the Cold War’s overriding question: who would gain a supremacy of nuclear weapons, the US or the Soviet Union?

In an important segment of the film, the director has chosen to reveal the concurrent psychiatric practice employed by Dr. Cameron and others that Reich could have been involved in if he had elected to stay with the mainstream of “modern” psychiatry. These “therapies” included excessive electro shock treatment, drugs, lobotomies and other interventions, with no proven benefit to the patients and in some instances without their voluntary consent.

In a few scenes with one schizophrenic patient, we are brought to understand the calculating, Mengale-like, self-deification of Dr. Cameron. The power of his role gives Cameron the license to use experimental drugs, excessive electro shock and lobotomy to eradicate his subject’s memory and override his free will in the name of “finding a cure.” These scenes are terrifying. His therapies produce no admitted benefits and indeed they result in the patient’s suicide. However, as the President of the American, Canadian and World Psychiatric Associations, Dr. Cameron is considered a world class physician and researcher.

The scenes with Cameron (wonderful performance by Gary Lewis) and the schizophrenic-Thomas (Max Deacon) are dramatic. They portend the critical issues inherent in giving such power to individuals with no moral or ethical compunctions (in the film Cameron says morality and ethics don’t apply to the hippocratic oath). This is especially true when they, like Cameron, are not held accountable for their actions. Svoboda hones in on current themes: some power structures and people are “too big to fail.” Such happens when there is little regulation or accountability. If the doctors spurred on by drug companies used patients as guinea pigs, there was no one to stop them. Their legitimacy was upheld by group think and the fear of ostracism or worse.

Dr. Cameron (Gary Lewis) in The Strange Case of Wilhem Reich.

Dr. Cameron (Gary Lewis) in The Strange Case of Wilhelm Reich.

Reich eschewed such practices referring to these psychiatrists as “idiots.” Meanwhile, his patients sat in his orgone boxes called accumulators. Anecdotal patient testimony was positive and patients reported being healed of various conditions (cancer among them) with no physical or mental harm or side effects. Without preaching or being didactic, just by revealing the incidents, the film raises important questions and by the end posits some answers. Why was Reich defamed in a press smear campaign in 1947 that made him appear crazy enough to warrant government investigation? Why was Dr. Cameron larded with honors and awarded prestige and presidencies though his horrific practices caused his patients untold harm even death? Why were government assets employed against Reich?

The film highlights the injustices that Reich suffered at the hands of government agents (CIA, FDA) and Dr. Cameron who controlled the medical power structure. Over the objections of the evaluating psychiatrist that Reich is not really fit to undergo a trial, Cameron overrides the report. We determine that he is motivated not by objective, clinical observation but by his own personal reasons. He makes sure that Reich goes to trial and loses, sealing Reich’s fate. With haughty arrogance, Dr. Cameron derides Reich to his face revealing that in the past he continually denied Reich’s applications to join various psychiatric associations. Reich is nonplussed; he understands who and what Cameron represents and he believes the man has no ultimate power over him. In this exchange, we further understand why Reich has been persecuted. He will not kowtow to such individuals.

In a shift back to the past, more of the mystery of Reich’s case is elucidated. The FDA and other agencies (CIA) used spies and subterfuge to characterize Reich’s orgone therapy as useless. In a particularly powerful scene, agents are questioning a Reich assistant who is a government spy.

The assistant tells agents what she has learned:  that the orgone therapy will be ineffective if the patients are in the orgone boxes only for a brief period of time. The implication is that the government representatives have one purpose: close down Reich, regardless of the efficacy of his program, and perhaps because of it. It’s about power and who holds the reigns. It has little to do with beneficial results, healing efficacy or lack of harm to patients. The film makes this point clear: if the FDA was interested in testing any benefit from Reich’s orgone boxes, they would not have resorted to subterfuge or spying. The FDA would have sent out an official team of researchers and scientists. They didn’t; they created a spy network and adjusted their findings to their own needs.

Wilhem Reich (Klaus Maria Brandauer) with an assistant in The Strange Case of Wilhem Reich.

Wilhelm Reich (Klaus Maria Brandauer) with an assistant in The Strange Case of Wilhem Reich.

Indeed, under scientific protocol there was no attempt to understand Eastern Medicine’s use of Chi (Reich’s claim for orgone energy) that had worked for thousands of years. Western medicine at the time didn’t “officially” accept anecdotal testimony or historical record that it couldn’t patent. So Reich’s ability to  prove the benefits of orgone therapy using the empirical methods demanded by mainstream research and medicine was greatly limited. We see this at the trial; Reich’s attempts to discuss his research are fruitless. The DA who wants “hard proof.” The film intimates that mainstream medical research didn’t necessarily use perfect empirical research either. But by demanding “hard proof” the medical power structure could use that as a determination to judge and get rid of therapies, especially if researchers, like Reich, lacked resources and backing by prestigious associations.

These incidents and others indicate the government’s determination to deal with Reich by nullifying his work. The filmmaker suggests there are root explanations in the tensions of the Cold War. Whether Reich was a casualty of that war may be argued, but there is no mistaking the precarious justice that the FDA followed. Filmmakers show they went after Reich with a vengeance that is surprising in its malevolence. In a poignant scene beautifully rendered by Brandauer, agents force Reich to burn his life’s work, his orgone boxes and his tons of books. Brandauer is particularly brilliant in this scene holding the emotion in restraint as he sets the orgone boxes ablaze after he douses them with gasoline.

Forcing him to destroy his own work (often likened to digging one’s own grave and jumping in it before being shot) and burning his books has been labeled as the worst book banning in American History. Under the guise of protecting the American public from maniac Reich, it is a shaded throwback to book burnings under Nazi Germany fascism. The film’s final unspoken question remains, in the strange case of Wilhem Reich, from whom or what was the American public being protected?

SPOILER ALERT: At the end of the film, the information scrolls out the following facts

Dr. Cameron participated in the CIA’s MKULTRA  mind control Program. The illegal program was carried out without informed consent on many unsuspecting victims in Canada and the U.S. Those who signed up voluntarily didn’t know what they were getting into. Whether they knew or they didn’t, in a number of instances the victims were injured permanently and some died.

Reich died in prison less than a month before he was up for parole. Reich was dressed (without his shoes on) and ready for the morning call for breakfast when he was found on his bunk dead. According to the prison physician, he died of a heart attack during the night. There was no autopsy performed.

This review first appeared on Blogcritics.

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