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Tribeca FF 2018 Review: ‘The American Meme’ Documentary With Paris Hilton, Emily Ratajkowski, Brittany Furlan

Sep 15

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Tribeca FF 2018, Bret Marcus, Paris Hilton, Josh, The American Meme, Social Media fandom

(L to R): Paris Hilton, Bret Marcus, Josh Ostrovsky in ‘The American Meme,’ directed by Bert Marcus at Tribeca Film Festival 2018 (photo courtesy of Tribeca FF)

What does it take to become a Social Media giant? Is Donald Trump a Social Media giant or does he buy Twitter followers as one might do and has been reported? And how easy is it to be exploited online by malign actors from adversarial  countries? When documentary director Bert Marcus began to investigate the online habitats created by wannabe celebrities capitalizing on creating their own brands from their individual styles and ethos, he wasn’t concerned about politics. He wanted to explore whether the Social Media “giants” determined by their hits and followers were happy. What did it take to command an army of millions and turn them into cold hard cash? Notoriety is celebrity these days. And the individuals he chased down gladly opened their doors for additional publicity in his documentary. And one hand washed the other in The American Meme the documentary that attempts to get to the bottom of the phenomenon that inspires American Social Media personalities but only scratches the surface.

Himself capitalizing and riding the coattails of Social darlings like Paris Hilton, Emily Ratajkowski, Hailey Bieber, Brittany Furlan, The Fat Jew, and Kirill Bichutsky to name a few, in the guise of “going behind the scenes,” Marcus attempts to examine these individuals’ personal lives and the impact of sustaining their memes on the digital universe. Yes, they are human beings, not two dimensional screen figures. What were/are the sacrifices of seeking celebrity? How obsessed must one be to have a legion of followers? How clever? How creatively brilliant? It is possible to then take that notoriety and become one’s own entrepreneur garnering angel investors and/or others willing to share in the glory for a profit-making investment? Of course.

Bert Marcus,Tribeca Film Festival 2018, Brittany Furlan,

Brittany Furlan in ‘The American Meme,’ directed by Bert Marcus, Tribeca Film Festival 2018 (photo from the film)

Marcus is strongest in his examination as he begins to scratch the surface of psychological and emotional burn out. How tough is it to top yourself from your last next “best thing” that your followers “loved?” And indeed, the moment one tries to find some down time from all of the frenzy of hits, the followers drop off.  You can’t be away from the screen too long. You have to promote yourself. So another question he looks at is to what extent can an uber Social Media celebrity cool it and take a vacation from their phone? Instant success is instant oblivion online, even though the trails on Vines, Instagram and Youtube videos remain. In the instance of Krill whose branding is insanity, can he and others like him looking for their digital landescape afford to stop the sensationalism or stop pushing the envelope of outrageousness? What happens when enough is enough. And is enough ever enough?

I guess one can put it this way. Can Donald Trump afford not to tweet or be controversial? Well, thankfully, Marcus’ subjects are not in the presidential hot seat. On the other hand, the same chronic indulgence in self-exploitation and selfishness disguised in the form of selflessness to entertain one’s fans, in other words, narcissism, is present. The most affective celebrities online are the ones whose craziness turns on making fun of themselves.

Bert Marcus, Paris Hilton, The American Meme, Tribeca FF 2018

Paris Hilton and Bert Marcus, Tribeca FF 2018, ‘The American Meme, (photo courtesy of Tribeca FF)

The documentary highlights the individuals stated above and also Josh Ostrovsky and Kirill Bichutsky. I particularly found the latter funny horrible and one reason why the #MeToo movement came into being. Women and men need to be educated toward what sadism, masochism and soul-destroying crowd behavior does to the culture. As a factor of The American Meme  which does not judge, it attempts to humanize yet poke fun at these Social Media stars while riding their outrageousness. Thus, the tone and purpose of the film got misdirected somehow. In exposing such a phenomenon, it is important to take a position. I found that the film tries to but fails and gets bogged down in revealing the pain and torment of self-victimization, itself victimization of those who have the strength not to. Methinks the film protests to much in the wrong areas and doesn’t protest at all what it should.

Thus, the “celebrities” exhaustion, depression and upset that they created this branding image monster that is devouring them piecemeal is a vital point. But on the other hand, that their perspective is infantile is paramount. There is so much that we should be apprised of including Climate Change, institutional and governmental discrimination, the outrageous abuses occurring at our Southern border with children imprisoned in camps without proper supervision and attention, the threat of citizens being thrown off their healthcare.

Hailey Bieber, Bert Marcus, The American Meme, Tribeca FF 2018

Hailey Bieber and Bert Marcus, ‘The American Meme,’ Tribeca FF 2018 (photo courtesy of Tribeca)

To my febrile, ancient mind this documentary is as indulgent as its subjects. Hopefully, once these Social personalities grow up, perhaps they will do something purposeful in the world. Some of them like Amanda Cerny have. But she is not one of those who clawed to the top of the Social Media platforms amassing followers through either looking stupid good or appearing arrogant and clueless and lovely or with the guys like Kirill doing the opposite and being disgusting for disgusting sake. That to me rings too much of the current political media mogul that has usurped the seat of power to brand himself and the nation. The question is, what exactly do you want to do? And if you end up killing yourself or destroying your career, do you care?

But again The American Meme is not political. However, it does highlight self-victimization and feeling victimized by one’s fans and the relentless gorging of the media on the outrageous and controversial. In any case, many will find Marcus’ revelations and/or the celebratory comments and behaviors fascinating. Indeed, this film is for those who believe that Social Media is revolutionary by bringing the American Dream right onto one’s phone camera and using one’s creativity to grab the attention of millions. That is a feat. But as Andy Warhol stated, everyone has their 15 minutes of fame. Ironically, his criticism of this in the culture, most people missed. Also, the crowd mentality around celebrity and the rabid and misguided search for the American Meme/Dream theme, if it amuses, was beautifully stated in a 1939 novel by Nathaniel West which is about Hollywood as a devouring fiction. The novel is The Day of the Locust. And West reveals the same type of frenzy driving humanity. The novel was also made into the 1979 titular film which was a barely recognizable, loose adaptation of the novel about a few of Hollywood’s failed dreamers.

As an expose, Marcus documentary is lukewarm. Would that he had gone deeper, for the idea is a fascinating one that needs exploration, certainly. As a documentary that informs with appropriate edits and Social Media intercuts, it does its job. As a position piece, it is obvious and bland. Citing more details, facts and highlighting the Social celebrities who are making it across platforms and whose creativity does rock might have been more trenchant. But then again, riding the tail wind as this film does, followers of these stars will enjoy The American Meme. As a future historical piece, Marcus has laid the groundwork for others to go beyond the surface to the psychology behind the memes. Just do it!

 

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‘My Life on a Diet’ Starring Renée Taylor, a Laugh Fest You Don’t Want to Miss

Jul 30

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Renée Taylor, My Life on a Diet, Joe Bologna, Theatre at St. Clement's

Renée Taylor in ‘My Life on a Diet.’ directed by Joe Bologna, Theatre at St. Clement’s, (Jeremy Daniel)

Every woman who has ever gone on a diet should either run to the Theatre at St. Clement’s to see My Life on a Diet or read Renée Taylor’s titular memoir. Taylor and Joseph Bologna, her husband of 52 years (now deceased), wrote her one-woman show, and as live performances go Taylor’s is just sumptuous.

Bologna, who directed the show, and Taylor have been a brilliant comedy writing and acting duo for decades, garnering Emmy Awards, a Writer’s Guild Award and nominations, and Academy Award nominations. Both have prodigious credits spanning TV, film, and Broadway. Together they collaborated on 22 plays, four films, and nine TV movies and series. Taylor acted with Bologna in plays they wrote for Broadway and Off Broadway, some later adapted for film, such as Lovers and Other Strangers, which they also starred in.

Taylor’s most recent exploits have been in recurring TV roles in How I met Your Mother, Bob’s Burgers, and Happily Divorced. Renowned for her portrayal of Sylvia Fine in The Nanny with Fran Drescher, Taylor developed comedic bits throughout based on her own eating binges. Overeating and dieting have been a Renée Taylor obsession her entire life. Thankfully, her story of dieting woe and skinny happiness has blossomed into this uplifting and marvelous show at St. Clement’s.

Indeed, with every well-timed joke, the production shimmers with riotous, rollicking fun. From beginning to end, the story scintillates with irony. From this historical reminiscence of Taylor’s childhood and adult years in New York City, Miami, and Hollywood, we glean an indelible portrait of the celebrity frenzy of dieting and weight loss. Enhanced and elucidated with personal archival black-and-white photos, film clips, diets, anecdotes, and fabulous humor, the story of her life through the decades makes us empathize as we laugh at her deadpan delivery. With every line and precept of weight loss, Bologna and Taylor authenticate Taylor’s show-business life as she struggles and fails to maintain “weight” even to this day.

Renée Taylor, My Life on a Diet, Joe Bologna, Theatre at St. Clement's

Renée Taylor in ‘My Life on a Diet,’ directed by Joe Bologna, Theatre at St. Clement’s (Jeremy Daniel)

Not only does the writing sparkle and effervesce, Taylor’s impeccable delivery and beautifully paced riffs leave no time for you to breathe. Your sides will be splitting and you’ll double over with joyful hysteria. For Taylor absolutely crushes it as she obsesses about appearance and historical trending diets (more than 25 including the Master Cleanse), with zaniness and LMAO humor.

The first examples she lists include individuals who died while on their own self-created and -touted diets. One even committed suicide. You may recognize the names. However, messages and themes eventually sneak through the crashing laughter. The fascism of slimness and appearance which Hollywood once embraced with fury can be wild, if not fatal.

Renée Taylor, My Life on a Diet, Joe Bologna, Theatre at St. Clement's

Renée Taylor in ‘My Life on a Diet,’ directed by Joe Bologna, Theatre at St. Clement’s ( Jeremy Daniel)

Though Taylor doesn’t reference Judy Garland, one may recall Garland’s drug addictions that began with diet doctors’ heavy prescriptions. Thus, when Taylor discusses weight loss via a diet of expensive Cristal champagne, and her addiction to amphetamines, we realize her journey was heading toward a dangerous cliff. Thanks to an intriguing, no-nonsense female doctor, and to meeting Bologna, Taylor’s life took an upswing into love and away from the dieting morass. One may arrive at emotional health and happiness with generous dollops of love, humility and humor. And so what if there are always a few pounds to shed? Wellbeing becomes paramount; that, and the ability not to take one’s obsessions too seriously.

One does not have to be overweight or diet-challenged to appreciate Taylor’s history of Hollywood stars and their diet manias. Even anorexics will enjoy her beautifully delivered jokes. For they highlight Taylor’s other obsessions: becoming and being “star-bright famous,” and meeting “star icons.” Notably, Taylor formed relationships with Orson Welles and Lenny Bruce. She became friends with Grace Kelly and Barbra Streisand on their way to stardom. When she discusses her poignant and close relationship with Marilyn Monroe, whom she met at the Actor’s Studio where both studied with Lee Strasberg, she breaks your heart.

In each instance Taylor lists food habits amidst delicious tidbits of humor. For example, Joan Crawford neglected to eat the bread part of raisin bread, eating only the raisins. Marilyn Monroe’s grape diet didn’t work for Taylor. On Lou Costello’s diet, the first diet Taylor went on (at age 11), she began to look like Costello.

Renée Taylor, Joe Bologna, Theatre at St. Clement's, My Life on a Diet

Renée Taylor in ‘My Life on a Diet,’ directed by Joe Bologna, Theatre at St. Clement’s (Jeremy Daniel)

As she attempted to combat the eternal problem of all dieters, “cheating,” she found that no diet worked, not even the diet plans given her by doctors her mom took her to. Then came a turning point in her “dieting life.” No one forced her to go on a diet; she had made that decision herself prompted by a first love. “Applause.” And her yo-yo dieting journey began. Priceless! I identify completely.

Regardless of whether one is young or old, male or female, overweight, buff, sylph-like, or curvy, Taylor’s war on fat rings true for us today. Indeed, for young folks in elementary school through high school and beyond, weight and identity is a critical issue, even for males. Fat shaming can be a social media bullying problem. Taylor reveals that humor, wit and irony can slay bullying insults at their roots.

Finally, kudos go to Harry Feiner (Scenic Design), Pol Atteu (Costume Design), Stefanie Risk (Lighting Director), Jay Risk (Sound Engineer), and Michael Redman (Projections Designer) for their efforts in making this a completely entertaining and gobsmacking must-see show.

My Life on a Diet is at Theatre at St. Clement’s (423 West 46th St. between 9th and 10th). Visit the website for tickets or call Telecharge, 212-239-6200. But hurry! The show runs until 19 August. Update: the show was extended a number of times. It should tour or come back. So many women struggle with losing even one pound, they will love Renée Taylor’s hysterical perspective.

Posted in NYC Theater Reviews, Off Broadway

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NYC Theater: ‘On a Clear Day You Can See Forever’ Starring Melissa Errico at The Irish Rep

Jul 10

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Charlotte Moore, On a Clear Day You Can See Forever, John Cudia, Melissa Errico, Irish Repertory Theatre

John Cudia, Melissa Errico in the Irish Repertory Theatre’s ‘On a Clear Day You Can See Forever,’ directed by Charlotte Moore (Carol Rosegg)

I did not see the Broadway versions (1965, 2011) of the musical On a Clear Day You Can See Forever by Burton Lane (music) and Alan Jay Lerner (book and lyrics). Paramount Studio made a film of the musical starring Barbra Streisand and Yves Montand, which has been listed by the American Film Institute as one of the 100 greatest musical films ever. Unfamiliar with the theater versions and the film, I did have a passing recognition of the more tuneful, memorable songs.

Thus, I came to Charlotte Moore’s adaptation of the show, currently running at the Irish Repertory Theatre, with a fresh perspective. The musical for years has been incorrectly (to my mind) characterized as “odd,” but I could not disagree more. I appreciated the Irish Rep’s revival and the lyrical, lovely music conducted by Gary Adler, engendered by music director John Bell and orchestrated by Josh Clayton. And I loved Moore’s canny direction and the accomplished, thrilling lead performances of Melissa Errico and Stephen Bogardus. Furthermore, the fine ensemble, also headed up by John Cudia as Edward Moncrief, strongly undergirded the dynamism of the revival/adaptation. Indeed, this production soars as a delightful theatrical experience full of whimsy, joy, and charm.

Melissa Errico, Stephen Bogardus, Irish Repertory Theatre, On a Clear Day You Can See Forever, Charlotte Moore

Melissa Errico, Stephen Bogardus in the Irish Repertory Theatre’s ‘On a Clear Day You Can See Forever’ (Carol Rosegg)

If one finds it difficult to accept the possibility of other realms of consciousness and making contact with past lives, the plot may appear inconsistently fantastic. Might we recall past identities, floating in our conscious or unconscious minds and impacting us in the present? Dr. Mark Bruckner (the gorgeously resonant-voiced Bogardus) through hypnosis regresses Daisy Gamble (played with energetic grace and verve by Errico). This premise, that we can recall past lives through hypnosis – an idea especially popular in the 1960s – grounds the play’s structure.

The regression occurs with Daisy’s permission after Dr. Bruckner discovers her amazing psychic gifts of precognition and telepathy. Threaded into her personality is a healthy dose of prescience. She predicts when the phone will ring. She communicates psychically and receives others’ thoughts. Of course, who communicates with her telepathically makes a difference, and why she receives their thoughts and not those of others conveys one of the play’s themes.

To say Daisy manifests the flexibility to suspend the culture’s rational materialism remains an understatement. And Errico handles Daisy’s gifts with authenticity and humor. For example, when she sings “Hurry It’s Lovely Up Here” to illustrate to Dr. Bruckner that her plants blossom speedily with her love talk, her luscious singing provokes our belief in Daisy’s extrasensory powers. With Errico’s magical, musical show-woman-ship, such feats of telepathy, etc., become humorous and matter-of-fact realistic.

Melissa Errico, Stephen Bogardus, On a Clear Day You Can See Forever, Charlotte Moore, Irish Repertory Theatre

Stephen Bogardus, Melissa Errico, the Irish Repertory Theatre’s ‘On a Clear Day You Can See Forever’ (Carol Rosegg)

It’s when Daisy and friends attend a group hypnosis session to stop smoking that the doctor notes her unusual susceptibility to hypnosis. Intrigued, he regresses her. With few props, clever costumes, and elusive painted projections, Moore and her artistic team stage 1960s New York City and 18th-century England adroitly. Somehow, the team’s artistry effects Daisy’s/Melinda’s environments and consciousness with appropriate, minimalistic fanfare. After all, this is a play about the mind, the intellect, and one’s ability to receive glimpses of the forever in the here and now. The small stage and pared-down sets and casting at The Irish Rep seem appropriately intimate for the overarching themes about the mysteries of life’s incorporeal beauty and spiritual grace in all living creation.

John Cudia, Melissa Errico, Irish Repertory Theatre, On a Clear Day You Can See Forever, Charlotte Moore

John Cudia, Melissa Errico in the Irish Repertory Theatre’s ‘On a Clear Day You Can See Forever’ (Carol Rosegg)

Under regression, Daisy transforms into elegant, well-healed Melinda Welles, replete with British accent and cool impassioned femininity. When her lover becomes her philandering husband Edward Moncrief (Cudia’s rich operatic voice melds beautifully with Errico’s in “She Wasn’t You”), and pursues many dalliances, unlike women of her time she revolts. To escape her misery and begin a new life, she books a passage to America. But her physical body never makes it. Perhaps her spiritual desire manifests through someone else? Regardless, Melinda, in Daisy’s unconscious, has arrived in Brooklyn and shows up when the time to manifest becomes appropriate. This notion teases with ironic humor.

Dr. Bruckner falls for the exotic, elusive Melinda (Bogardus impeccably renders the lovely song “Melinda”).  We understand his amazement at this other woman who appears when Daisy falls into unconsciousness under hypnosis. Melinda represents Daisy in a mysterious connection to the present which has yet to be revealed at this point.

Stephen Bogardus, Irish Repertory Theatre, On a Clear Day You Can See Forever, Charlotte Moore

Stephen Bogardus in Irish Repertory Theatre’s ‘On a Clear Day You Can See Forever’ (Carol Rosegg)

Errico exquisitely portrays the dual opposites, Daisy and Melinda, as head and tail of the same coin. She slips from cool Brit to zany New Yorker smoothly, but the transformation remains a cipher. Daisy’s bubbly exuberance, Brooklyn-accented loquaciousness, and peculiar comfort with her psychic gifts belies insecurity and self-debasement. And Errico’s poised, mannered, suppressed Melinda belies the broiling, impolitic, rash female maverick. For she erupts, revolts against the cultural limitations of her sex, and sets out on a fateful voyage of doom.

But when Daisy discovers the tape of her regression sessions and realizes she loves Bruckner, she becomes jealous of the aspect of herself beloved by the doctor – Melinda. The amazing “What Did I Have That I Don’t Have?” that Daisy sings in anger and hurt is ultimately ironic, because she doesn’t realize that her past consciousness of Melinda is an element of her own character and ethos. Yet the song through Errico’s instrument becomes transcendent, a universal song of lost love after initial passion has faded. That both Daisy and Melinda are ultimately one she cannot realize until Bruckner evolves to understand his love for all of her.

On a Clear Day You Can See Forever, Charlotte Moore, Melissa Errico, Irish Repertory Theatre

Melissa Errico and ensemble in Irish Repertory Theatre’s ‘On a Clear Day You Can See Forever,’ directed by Charlotte Moore (Carol Rosegg)

That one character (Daisy) encompasses and feeds into the other (Melinda) reveals Alan Lerner’s depth in flirting with the complexity and intricacy of consciousness. And the depth with which the writer characterizes the evolution of Dr. Bruckner’s self-transformations also reveals his flirtation with novel, profound ideas.

The love Dr. Bruckner feels – first for Melinda – evolves into the knowledge that Daisy and Melinda inhabit the being of the same woman. Thus, at a crucial moment he saves her and assists in her own evolution as a modern woman who loves a worthier man than the one left behind in another time and place. Bogardus renders the gradual evolution of Bruckner’s love beautifully in his ironic comments to Melinda when she and Moncrief show affection to one another. Then it gloriously bursts out in his incredible, full-throttle rendition of “Come Back to Me” after his revelation that he has grown to love Daisy/Melinda as one.

Melissa Errio, Irish Repertory Theatre, On a Clear Day You Can See Forever, Charlotte Moore

Melissa Errico and the cast of the Irish Repertory Theatre’s revival, ‘On a Clear Day You Can See Forever’ (Carol Rosegg)

Clearly, in helping her connect the present with the past in her own consciousness, Bruckner frees himself to love. And he helps free Daisy to return his love without jeopardizing her own psychic integrity. Finally, they solve how the mystery of Melinda’s death links to the present in a vital, uncanny way. The union of Daisy’s and Melinda’s consciousnesses binds Bruckner and Daisy in an incomparable clarity of vision, a way of seeing that gives them and their friends a glimpse into their interconnectedness with forever, the spirit, the eternal.

At the crux of Lerner’s and Lane’s work remains the theme that life encompasses more than materialism and empiricism. And in everpresent time, the past, present, and future may conjoin in the spiritual plane. We may be too distracted with the corporeal realm to understand how. Yet perhaps there are indeed realms of forever to which all of us are attached, whether we realize it or not. Finally, as Daisy Gamble learns, for those who have a gift of “second sight,” life is expansive. Used beneficially, such gifts may allow one to enjoy life’s beauties more fully and help others do the same. And in that expansiveness, one will probably discover the true meaning of love. The title song, “On a Clear Day You Can See Forever,” best represents this theme.

In her adaptation of this musical Moore reconfigures the action and characters concisely and adriotly. With the help of music director John Bell, choreographer Barry McNabb, scenic designer/projection artist James Morgan, costume designer Whitney Locher, lighting designer Mary Jo Dondlinger, sound designer M. Florian Staab, projection designer Ryan Belock, the musicians, the ensemble, and the leads, this version of On a Clear Day You Can See Forever shines like a beacon of truth.

Do you yearn to  get away from the current news cycles and our country’s present turmoils? If so this is a must-see. For you will have an extraordinary and uplifting time watching the team beautifully, seamlessly render the illusive with authenticity. The cast’s ebullience and the show’s ironic twists of humor will remind you of goodness. And you will feel embraced by the airiness of light. It would be a pity to miss the fun and romance, layered with an ethereal message we need to be reminded of.

The Irish Repertory Theatre’s On a Clear Day You Can See Forever runs until 12 August. Tickets are available online.

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‘Concert for America’ Chita Rivera, Patrick Wilson, Andrea Martin Weigh in

Jul 7

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Idina Menzel, Concert for America, Great Hall Cooper Union

Idina Menzel, ‘Concert for America,’ at The Great Hall at Cooper Union on June 30, will be rebroadcast on July 8, 2018 at 9:00 pm ET on www.ConcertsforAmerica.com and Facebook.com/ConcertForAmerica where you can donate to help migrant families on the southern border (Monica Simoes)

Concert for America, hosted by Sirius XM’s Seth Rudetsky and James Wesley was held on June 30 at the Great Hall, Cooper Union. Rudetsky and Wesley debuted Concert for America on January 20, 2017 and have toured the country with eclectic talent line-ups with all concerts benefiting 5 national organizations fighting for civil, human and environmental rights.

Idina Menzel, Seth Rudetsky, James Wesley, Concert for America, Great Hall, Cooper Union

Idina Menzel hugging Seth Rudetsky with James Wesley looking on at ‘Concert for America,’ The Great Hall, Cooper Union to be rebroadcast Sunday, July 8, 2018 at 9:00 pm ET on www.ConcertsforAmerica.com and Facebook.com/ConcertForAmerica (Monica Simoes)

In light of what was happening to migrant children being separated from their families and babies being taken from their mothers, a friend posited to the duo that they put up another Concert for America. They suggested that it coincide with the day of national protests on June 30 (over 700 marches took place to protest against the egregious activities occurring at the southern border) and be held after the marches.

Seth Rudetsky, Jorge Avila, James Weslley, Concert for America, The Great Hall, Cooper Union

(L to R): Seth Rudetsky, Jorge Avila (concert violinist), James Wesley, ‘Concert for America,’ The Great Hall, Cooper Union to be rebroadcast on Sunday, July 8, 2018, 9:00 pm ET on www.ConcertsforAmerica and Facebook.com/ConcertForAmerica (Monica Simoes)

In record time Rudetsky and Wesley contacted exceptional performers who agreed to take out time from their inordinately busy schedules and perform for a “great cause,” to inspire and uplift us and to challenge us to be overcomers who fervently take a stand for the principles of freedom and democracy, decency and humanity. The Concert for America presented songs of hope and encouragement by Mandy Gonzalez, Jeremy Jordan, Idina Menzel, Brian Stokes Mitchell, Audra McDonald, Olga Merediz, Chita Rivera, Keala Settle Shaina Taub, and Patrick Wilson to name a few. Also appearing was concert violinist Jorge Avila. And Tina Fey and Andrea Martin shared their comedy and commentary. Matt Bomer and Andrew Rannells, both appearing in The Boys in the Band matinee and evening performances made, a video for the audience which Rudetsky and Wesley played.

Tina Fey, Concert for America, Great Hall, Cooper Union

Tina Fey at ‘Concert for America,’ June 30 at the Great Hall, Cooper Union to be rebroadcast July 8, 2018 at 9:00 pm ET on www.ConcertsforAmerica.com and Facebook.com/ConcertForAmerica (Monica Simoes)

Matt Bomer, Andrew Rannells, Concert for America

Matt Bomer and Andrew Rannells on video, ‘Concert for America,’ to be rebroadcast on Sunday, July 8, 2018, at 9:00 pm ET on www.ConcertsforAmerica.com and Facebook.com/ConcertForAmerica (Monica Simoes)

Also present were representatives and spokespersons from the ACLU and children’s services and the organizations working on the frontlines that the Concert for America is raising money for. These include Al Otro Lado, Texas Civil Rights Project, ACLU Foundation of Texas and Florence Project.

James Wesley, Terri Burke, Seth Rudetsky, Concert for America

James Wesley, Terri Burke (ACLU Texas) Seth Rudetsky,’ Concert for America,’ rebroadcasting on July 9, 2018, 9:00 pm ET on www.ConcertsforAmerica and Facebook.com/ConcertForAmerica. You may also donate on those sites. (Monica Simoes)

If you were unable to attend the Concert for America at the Great Hall in Cooper Union, the benefit concert will be rebroadcast on Sunday, July 8, 2018 at 9:00 pm ET on the following sites where you may also donate to help organizations help the migrant families and children on the southern border. The sites are  www.ConcertsforAmerica.com and Facebook.com/ConcertforAmerica.

Before the show started, I had the opportunity to speak with Chita Rivera, Patrick Wilson and Andrea Martin who briefly weighed in about the state of affairs in our country. Their comments are edited gently for fluidity and clarity.

Commentary by Chita Rivera.

Seth Rudetsky, Chita Rivera, Concert for America, Cooper Union

Co-host XM’s Seth Rudetsky, Chita Rivera, ‘Concert for America,’ Cooper Union will be rebroadcast on July 8, 2018, 9:00 pm ET on www.ConcertsforAmerica.com and Facebook.com/ConcertForAmerica where you may donate to help migrant families on the southern border (Monica Simoes)

Chita Rivera is a Broadway legend with two Tony awards for Best Leading Actress in a Musical and eight additional Tony nominations. She has won so many awards (including The Presidential Medal of Freedom) they have created the Chita Rivera Awards in her honor. She has originated roles in West Side Story, Bye Bye Birdie, Chicago, The Rink, The Kiss of the Spider Woman and The Visit to name a few. To read more about Chita Rivera in an interview with Richard Ridge, presented by The League of Professional Theatre Women and Lincoln Center Library for the Performing Arts, CLICK HERE.

Chita Rivera, Concert for America, The Great Hall, Cooper Union

Chita Rivera performing at ‘Concert for America’ which will rebroadcast on Sunday, July 8, 2018 at 9:00 pm ET on www.ConcertsforAmerica.com and Facebook.com/ConcertForAmerica (Monica Simoes)

Ms. Rivera, what do you say to people who are down and depressed about what is going on? You are so uplifting…

Unfortunately, this particular subject and all of the others that we’re defending here have gotten ME down and have gotten ME depressed. We have to unite. We have to not let this happen and speak up and all come together and have evenings like this and have marches that are happening. Our voices have to be heard because (the situation at the border) this is inhumane.

Chita Rivera at ‘Concert for America’ which will be rebroadcast on Sunday, July 8, 2018, at 9:00 pm ET on http://www.ConcertsforAmerica.com and Facebook.com/ConcertForAmerica (Monica Simoes)
@Concerts4USA

How far do we have to go?

I don’t know. As far as we HAVE to go. We have to take every single day and do something. We can’t lower ourselves to a level that exists out there. We can do it, legally. We can do it with the passion from our hearts. We don’t have to go to the lowest level that has manifested. We have to raise our bar. I want to feel proud to be an American again. I remember going to London and being so proud, years ago, because they were so kind to us and so welcoming that we were Americans. And I was so proud of my country. Now, I’m embarrassed to go anywhere.

(L to R): Seth Rudetsky, Lisa Mordente (Chita Rivera’s daughter), Chita Rivera, ‘Concert for America,’ will be rebroadcast on July 8, Sunday at 9:00 pm ET on http://www.ConcertsforAmerica.com and Facebook.com/ConcertForAmerica (Monica Simoes)

But you are representing the best of our country. So any time you go out and sing you show the talent and greatness of what citizens of our nation can be.

Yes. That’s why my daughter Lisa and I are here. And it’s why Freddie and John are represented here. John Kander and Fred Ebb. We’re singing “The Apple Doesn’t Fall Very Far From the Tree.” (It is from the show The Rink, Broadway-1984, by composer John Kander and lyricist Fred Ebb, book by Terrance McNally. Chita Rivera originated the role of Anna, Lisa Minelli the role of Angel). And it’s about a mother and daughter and the differences between mothers and daughters and about children. So it’s very appropriate.

Commentary by Andrea Martin

Andrea Martin, Concert for America, The Great Hall, Cooper Union

Andrea Martin, ‘Concert for America,’ The Great Hall, Cooper Union, to be rebroadcast on Sunday, July 8, 2018 at 9:00 pm ET, on www.ConcertsforAmerica.com and Facebook.com/ConcertForAmerica (Monica Simoes)

Andrea Martin is an American-Canadian actress, singer, author and comedian. Best known for her work in the television series Second City TV, she has also appeared in films, most recently My Big Fat Greek Wedding 1 and 2. Renowned on Broadway, she won Tony Awards for My Favorite Year and the 2013 Revival of Pippin. Her performances on Broadway include Candide, Oklahoma!, Fiddler on the Roof, Young Frankenstein, Exit the King and Act One. She has received five nominations for the Tony Award for Best Featured Actress in a Musical more than any other actress in the award’s history.

Andrea Martin, Concert for America, The Great Hall, Cooper Union

Andrea Martin, ‘Concert for America,’ to be rebroadcast on Sunday, July 8, 2018 at 9:00 pm ET on www.ConcertsforAmerica.com and Facebook.com/ConcertForAmerica (Monica Simoes)

You’re here. You care greatly about what is happening to our nation. How do you stay cheerful in the midst of all of this?

I think you compartmentalize. And you do the best you can, staying present in your own life so you’ll have the energy to help where you’re needed. You cannot disperse your drive, your focus by being depressed all the time.

Lisa Mordente, Chita Rivera, Andrea Martin, Concert for America, The Great Hall, Cooper Union

(L to R): Lisa Mordente, Chita Rivera, Andrea Martin, backstage at ‘Concert for America,’ to be rebroadcast on Sunday, July 8, 2018 at 9:00 pm ET, on www.ConcertsforAmerica.com and Facebook.com/ConcertforAmerica (Monica Simoes)

If you could say one or two things to the leaders of our nation, what would you say to them?

I’d say, we can work this out. Let’s be decent people and listen to one another. That’s what I would say.

Commentary by Patrick Wilson

Patrick Wilson, Concert for America, The Great Hall, Cooper Union

Patrick Wilson, ‘Concert for America,’ June 30 at The Great Hall, Cooper Union, rebroadcasting on July 8, 2018, 9 pm ET on www.ConcertsforAmerica.com and Facebook.com/ConcertForAmerica (Monica Simoes)

Patrick Wilson has been starring in Broadway musicals since 1995. He is a two-time Tony Award nominee for his roles in The Full Monty (2000–2001) and Oklahoma! (2002). In 2003, he appeared in the HBO miniseries Angels in America for which he was nominated for the Golden Globe Award and Primetime Emmy Award for Outstanding Supporting Actor in a Miniseries or a Movie. He has also appeared in many films renowned for Insidious and Insidious: Chapter 2, The Conjuring and The Conjuring 2 and more. He has been cast as Orm Marius/Ocean Master in Aquaman (2018).

Patrick Wilson, Concert for America, The Great Halll, Cooper Union

Patrick Wilson, ‘Concert for America, The Great Hall, Cooper Union (Monica Simoes)

I know you’re here because you care about what’s happening at the border. You have a family. You understand. If you had the opportunity to talk to Donald Trump, or Jeff Sessions or others, what might you say to them?

The older I get, I try to follow this idea: Say what you mean and mean what you say. I’m a pretty simple guy. I try to operate from the heart. I mean this with regard not only to Donald Trump or Jeff Sessions, but anybody. Anybody who doesn’t operate from the heart? I  would say, try to! I think some people have a disconnect with the inner person. I can only speak from my experience. I want to be around people, work with people, work for people who are truthful, who believe in the good, who are creative people that lead from the heart. Those are the people I surround myself with.

Patrick Wilson, Concert for America, The Great Hall, Cooper Union

Patrick Wilson, ‘Concert for America,’ The Great Hall, Cooper Union, rebroadcasting on July 8, 2018 at 9:00 pm ET on www.ConcertsforAmerica.com and Facebook.com/ConcertForAmerica (Carole Di Tosti)

Obviously, it’s not perfect. Not every relationship is perfect, not every job is perfect. But you try to weed out those who don’t jive with you. The older I get, those are the only the kinds of people I want to work with. So it’s hard for me to go along or follow and agree with people who say, “Oh, I don’t like him, but I like his policies. Or the comment, “Well, look what he’s done.”

Patrick Wilson, The Great Hall, Cooper Union, Concert for America

Patrick Wilson, ‘Concert for America,’ The Great Hall, Cooper Union on June 30 to be rebroadcast on Sunday, July 8, 2018 at 9:00 pm ET on www.ConcertsforAmerica.com and Facebook.com/ConcertForAmerica (Monica Simoes)

 

I say, look at the person! That’s who artists are. That’s what artists do. It’s about the person. I only operate from the inside out. I don’t know how to operate any other way. For example take the guy who pays for everyone at the table but is rude to the waiter? I don’t like that guy. I don’t want to be around that guy. And I don’t want to have dinner with that guy ever again. That’s what we’re talking about.

Brian Stokes Mitchell, Patrick Wilson, Concert for America, Great Hall Cooper Union

Brian Stokes Mitchell and Patrick Wilson backstage, ‘Concert for America,’ to be rebroadcast on Sunday, July 8, 2018 at 9:00 pm ET on www.ConcertsforAmerica.com and Facebook.com/ConcertForAmerica (Monica Simoes)

The Concert for America is being rebroadcast on July 8, 2018 at 9:00 pm ET on www.ConcertsforAmerica.com and Facebook.com/ConcertForAmerica.  A few more photos of entertainers who appeared are below.

Keattle Settle, The Great Hall, Concert for America, Cooper Union

Keala Settle, ‘Concert for America,’ The Great Hall, Cooper Union, rebroadcasting on Sunday, July 8, 2018 at 9:00 pm ET on http://www.ConcertsforAmerica.com and Facebook.com/ConcertForAmerica (Monica Simoes)

Mandy Gonzalez, Concert for America, The Great Hall, Cooper Union

Mandy Gonzalez, ‘Concert for America,’ The Great Hall, Cooper Union (Monica Simoes)

Allyson Tucker, Audra McDonald, Chita Rivera, Brian Stokes Mitchell, Lisa Mordente, Concert for America, The Great Hall, Cooper Union

Backstage with Allyson Tucker, Audra McDonald, Chita Rivera, Brian Stokes Mitchell, Lisa Mordente, ‘Concert for America,’ The Great Hall, Cooper Union (Monica Simoes)

Olga Merediz, Concert for America

Olga Merediz, ‘Concert for America’ (Monica Simoes)

Jeremy Jordan, Over the Rainbow, Concert for America, The Great Hall, Cooper Union

Jeremy Jordan sings ‘Over the Rainbow,’ ‘Concert for America,’ The Great Hall, Cooper Union (Carole Di Tosti)

When you visit online www.ConcertforAmerica.com you will be able to donate to the four organizations helping families on the border: Al Otro Lado, Texas Civil Rights Project, ACLU Foundation of Texas and Florence Project. The money donated will be divided up amongst the four organizations. Since the reunification of families must be accomplished by a court ordered date, reports have circulated that there are almost 3000 children that must be brought together with their families. And as the process continues, more will be revealed that we do not yet know about.

Concert for America, The Great Hall Cooper Union

The cast sings “Let the Sunshine In” from ‘Hair,’ at ‘Concert for America,’ The Great Hall, Cooper Union (Monica Simoes)

Regarding the Concert for America, the sold out tickets and the appearance on short notice of the celebrities and entertainers who came to The Great Hall, Cooper Union indicate how much people are concerned and upset. Indeed, they took a stand and showed up  to inspire the rest of us. Many Americans, more than we may even realize, care and have a heart for children. The abusive human rights violations have to stop.

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Why We Need a ‘Concert for America’

Jul 5

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James Wesley, Terri Burke, (ACLU Texas), Seth Rudetsky, Concert for America, Great Hall at Cooper UNion

(L to R): James Wesley, Terri Burke (ACLU of Texas), Seth Rudetsky ‘Concert For America,’ Great Hall at Cooper Union (Monica Simoes)

Seth Rudetsky and James Wesley of Sirius XM prompted by a friend had a great idea for June 30. Have a benefit concert with celebrity entertainers. Not only did US citizens need to march, they also needed to be uplifted. So once again, Rudetsky and Wesley brought together, this time in just an amazing week or so, marvelous artists and speakers to perform a concert of songs, comedy and commentary to give us hope during these trying times. They hosted the Concert for America at Cooper Union’s Great Hall on June 30 right after the marches across the nation were concluding.

Tina Fey, Concert for America, Seth Rudetsky, James Wesley

Tina Fey, ‘Concert for America,’ hosted by Sirius XM’s Seth Rudetsky and James Wesley, June 30 to be rebroadcast July 8, 9 pm ET (Monica Simoes)

The Concert for America which took place on June 30 will be rebroadcast on Sunday, July 8 at 9:00 pm ET on two sites. www.ConcertsforAmerica.com and  Facebook.com/ConcertForAmerica.   On the sites you may also donate to organizations helping out on our southern border: Al Otro Lado, Texas Civil Rights Project, ACLU Foundation of Texas and Florence Project. The donations will be split up evenly to the four groups. Here’s why your donation will make a difference.

James Wesley, Seth Rudetsky, Concert for America,

(L to R): James Wesley, Seth Rudetsky Sirius XM’s hosts for ‘Concert for America’ being rebroadcast on July 8, Sunday 9 pm ET, http://www.ConcertsforAmerica.com (Carole Di Tosti)

Though the ACLU has been fighting on behalf of immigrants for months and years, the situation has declined. The Zero Tolerance Policy piloted without fanfare was instituted but the chaos it created impacted thousands to cries of outrage. Though the administration “rescinded” the policy, the fallout and abuse is continuing. To give a bit of background  this is what happened in the past months.

Idina Menzel, Concert for America, Cooper Union

Idina Menzel came from one show and rushed back to her other show to take a stand and uplift the audience, Concert for America, Great Hall, Cooper Union (Monica Simoes)

Unbeknownst to all but a few officials and law enforcement at the Southern Border, immigrant children were being taken from their parents as they attempted to gain asylum. Egregiously, babies were ripped from mothers who feared they might never see their young ones again. But those who saw and had a conscience and image of a better United States under the constitution, leaked information. Whistleblowers, distressed at what they witnessed as human rights violations contacted senators like Jeff Merkely (D. Oregon).

Tina Fey, Concert for America

Tina Fey, ‘Concert for America’ (Monica Simoes) rebroadcast on Sunday, July 8, 2018, 9:00 pm ET at http://www.ConcertsforAmerica.com

Finally, after repeated attempts to gain entrance to facilities and being turned away, lawmakers visited and observed. Then they spoke out fervently and stirred the hearts of Americans and people around the world against the injustices and cruelty to children in detention centers. When reporters were invited into the Walmart that had been converted to house children,  Jacab Soboroff’s and other reporters’ news broadcasts shocked US citizens. What they revealed exemplified a country misaligned with democratic constitutional values and human rights principles. These were practices more reminiscent of fascist politics and shameful moments in our history.  What they witnessed, reminiscent of Japanese internment camps during WWII, chronicled abusive treatment directed at innocent children. Was this representative of our hope to evolve our nation toward a more perfect union?

Patrick Wilson, James Wesley, Chita Rivera, Olga Merediz, Concert for America

Patrick Wilson, James Wesley, Chita Rivera, Olga Merediz and the cast of ‘Concert for America,’ (Monica Simoes)

Counter-narratives long on rants about thousands and thousands of invaders (MS 13) and short on facts, with illogical contradictions and misinformation abounded on alt-right conservative media and entertainment media like Fox News. One commentator posited that the President should not listen to child actors crying, citing as a source the New Yorker.

Audra McDonald, Concert for America, Cooper Union Great Hall

Audra McDonald backstage at ‘Concert for America,’ rebroadcast on Sunday, July 8, 9:00 pm ET, http://www.ConcertsforAmerica.com (Carole Di Tosti)

With easy fact checking the source was a New Yorker article from 2011; the “actor” was a grown woman from the islands who had been coached. This was not even close to June 2018, babies who are not even verbal yet, or toddlers. Those kept in dog kennels who were older? Perhaps they could be coached, but they were too traumatized by the chaos and confusion to make logical sense or be coherent. The lies coming out of the commentators on Fox were nothing short of irresponsible, though white supremacists may have found them entertaining and useful to add to their rhetoric that our country is in dire straights from MS-13 gangs pouring over the border, a patent lie.

Jeremy Jordan, Concert for America, Cooper Union

Backstage with Jeremy Jordan at ‘Concert for America,’ Cooper Union, rebroadcast on July 9, Sunday 9 pm ET at http://www.ConcertsforAmerica.com (Carole Di Tosti)

Because of the outcry the president rescinded the order and stopped separating children from parents, mothers from babies, we are told. Nevertheless, the situation needed to be monitored because secret night flights of children separated from families went to cities across the nation. Separated children were installed in shelters in cities, without the knowledge of mayors who were being stonewalled by the federal government. Thankfully, whistleblowers from shelters started to contact mayors and officials about the location of the children.

Conert for America, Lisa Mordente, Chita Rivera

(L to R): Lisa Mordente and Chita Rivera, ‘Concert for America’ (Monica Simoes) rebroadcast July 8, Sunday 9 pm ET at http://www.ConertsforAmerica.com

The family separation, egregious on its face, was made all the more horrible because no records were kept. There were no lists of where children were being sent. No digital monitoring occurred. (This lack of organization and no record keeping will occur when the WH meets with Russian President Putin.) Such inattention to detail gives rise to a complete lack of transparency and Faustian bargains. In the case of the children at the southern border, it creates  opportunities for grave abuse.

Mandy Gonzalez, Concert for America

Mandy Gonzalez in ‘Concert for America’ at Cooper Union, rebroadcast on http://www.ConcertsforAmerica.com, Sunday, July 8, 9 pm ET (Carole Di Tosti)

The ACLU which has been fighting the family separation policy for months, long before the “zero tolerance policy” was instituted, won in court against the Trump administration’s chaos, disorganization and mismanagement at the border. And a judge ordered the Trump administration to speed up the reunification process of children with families. Is the administration abiding by the judge’s orders?  It is being reported that families are being given an ultimatum. They may either be separated from their children as they seek asylum, or go back to their origin countries with their children and in some instances risk murder or kidnapping. It is a choice between Scylla or Charybdis.

Odysseus between Scylla and Charybdis, British Museum

Odysseus between Scylla and Charybdis, courtesy of the British Museum, see site.

US citizens have been polled and a majority do not support this unpatriotic, unconstitutional approach toward immigration. The very need for immigration is something which Secretary of State William H. Seward under President Lincoln uplifted as necessary to our nation’s prosperity. However, there are supporters of the policies of the administration.

Olga Merediz, Concert for America, Cooper Union

Olga Merediz in ‘Concert for America,’ (Carole Di Tosti)

Cui bono? Who benefits? Reports have gone out that the non profit prisons at the southern border interning children and families are making billions of dollars on this immigrant crisis. As long as the rhetoric holds that MS-13 gangs are flooding the country (a lie) and we “must protect our borders, a national security issue,” migrant children and families who are truly seeking asylum here will be helping CEO’s and investors make billions of dollars. For corporations the crisis is “a very good thing.”

Brian Stokes Mitchell, Audra McDonald, Concert for America

Brian Stokes Mitchell, Audra McDonald in ‘Concert for America’ (Carole Di Tosti)

The Concert for America organized by Seth Rudetsky and James Wesley and starring Tina Fey, Idina Menzel, Audra McDonald, Patrick Wilson, Chita Rivera, Andrea Martin, Brian Stokes Mitchell, Jeremy Jordan Keala Settle and more was a wonderful encouragement to remind us of the best of our country’s values and ideals. Marvelous performers sang songs of determination and strength and overcoming. We felt inspired that we are to uplift those legitimately seeking asylum and help them. Importantly,  commentators from the Texas ACLU, al Otro Lado, Texas Civil Rights Project, ACLU Foundation of Texas and Florence Project gave eye witness accounts that the abuses that are happening are NOT FAKE, ENTERTAINING NEWS.  It is a miserable, indecent and immoral situation.

Jeremy Jordan, Concert for America, Great Hall Cooper Union

Jeremy Jordan knocking ‘Somewhere Over the Rainbow’ out of the park, ‘Concert for America’ (Carole Di Tosti)

This amazing Concert for America will be rebroadcast live on Sunday, July 8, 2018 at 9:00 pm ET on two sites: www.ConcertsforAmerica.com  and on Facebook at  Facebook.com/ConcertForAmerica.

On both sites you can see this benefit to help four organizations on our Southern Border (Al Otro Lado, Texas Civil Rights Project, ACLU Foundation of Texas and Florence Project). And you can go to the Facebook and ConcertsforAmerica sites to donate as well.

 

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NYBG Edible Academy Celebrates its Expansion

Jun 28

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The New York Botanical Garden has always prized horticultural/environmental research, preservation and sustainability. This is especially so in this crisis period where the US no longer participates in the 2015 Paris Climate Agreement. As a part of their vision to educate children and families about how gardens improve the environmental landscape and integrate human growth, wellness and health, the NYBG is briskly moving forward to assist the global on the local level in NYC.

New York Botanical Garden, Edible Academy, Opening Day Ceremony

Children from area public schools picking the first harvest of vegetables from the Edible Academy, NYBG, Opening Day Ceremonies, June 14 (Carole Di Tosti)

The Garden is accomplishing this by operating a State-of-the Art Edible Academy that expanded their former academy into an amazing three acre campus. The central purpose of the Edible Academy is to teach children and families how to grow, harvest and prepare healthy, clean, organic produce. It is also to encourage the knowledge that sustainability in various forms like cutting down on food waste, composting, food shopping carefully, etc., are practices we should engage in to meet our personal goals to support global and local environments.

NYBG, Edible Academy, Opening Day Ceremony

Year-round greenhouse, Edible Academy, NYBG, Opening Day Ceremonies (Carole Di Tosti)

Edible Academy, NYBG, Opening Day Ceremony

Kitchen classroom, Edible Academy, NYBG, Opening Day Ceremonies, June 14 (Carole Di Tosti)

Apiary, Edible Academy, NYBG

Kate Solomon Family Apiary, Edible Academy, Opening Day Ceremonies, June 14, 2018, NYBG (Carole Di Tosti)

Edible Academy, NYBG, Opening Day Ceremonies

Campus of the Edible Academy with guests, donors, officials viewing the buildings, NYBG, Opening Day Ceremonies, June 14, 2018 (Carole Di Tosti)

Edible Academy, Opening Day Ceremonies, NYBG

The lettuces, like all the vegetables grown at the Edible Academy, are organic, with attention to no use of chemicals to keep away insects, NYBG (Carole Di Tosti)

The NYBG has had an acclaimed garden-based education program for many years. However, to better serve the community of thousands of children in the New York City area, the Garden funded the expansion of the Ruth Rea Howell Vegetable Garden through public and private donations, totaling $28 million. The indoor-outdoor campus, designed by the Cooper Robertson architectural firm, boasts cutting-edge sustainable technology which allows the NYBG’s edible gardening program to operate year-round. With their improvements the Garden has doubled its capacity to involve children, families, teachers and the general public in programs every season.

marigolds, NYBG, Edible Academy, Opening Day Ceremonies

Marigolds are a part of every organic garden to keep away insects, Edible Academy, NYBG, Opening Day Ceremonies, June 14 (Carole Di Tosti)

NYBG, Edible Academy, Opening Day Ceremony June 14

The Edible Academy grows different types of vegetables: lettuces, peas, kale, broccoli to name a few, NYBG, Opening Day Ceremonies, June 14 (Carole Di Tosti)

NYBG, Edible Academy, Opening Day Ceremonies June 14

Students from Edgar Allan Poe School in the Bronx, teachers, donors and other visitors at the Opening Day Ceremony Dedication of the Edible Academy, NYBG (Carole Di Tosti)

Edible Academy, NYBG, Opening Day Ceremonies June 14

Nasturtiums (flowers in the foreground) are keeping away aphids and other insects from the vegetables, Edible Academy, NYBG, Opening Day Ceremonies, June 14 (Carole Di Tosti)

Ruth Rea Howell Vegetable Garden, Edible Academy, NYBG, Opening Day Ceremony June 14

The Ruth Rea Howell Vegetable Garden initiated in 1993, Edible Academy, NYBG, Opening Day Ceremonies, June 14 (Carole Di Tosti)

Meadow Garden, NYBG, Edible Academy

Royce Family Meadow Garden by the greenhouse has wildflowers to attract beneficial insects, Edible Academy, NYBG (Carole Di Tosti)

Meadow Garden, Edible Academy, NYBG, Opening Day Ceremonies June 14

Another view of the Meadow Garden with State-of-the-Art Buildings in the background, Edible Academy, Opening Day Ceremonies, June 14, NYBG (Carole Di Tosti)

The Edible Academy expansion is one more turning point on the highway of success the NYBG has paved over the decades to engage children and families to understand the importance of nature in their spiritual, emotional, psychological and physical well being. The power of nature to heal is a fact which scientists may have underestimated in the past, but now are studying in earnest. Indeed, there is a renewed interest in how “getting back to the land and the soil” heals soldiers and others with PTSD and helps children and adults with psychological problems by reaffirming mind/body connections to support the whole individual’s wellness.

Edible Academy, NYBG, Opening Day Ceremony June 14

Vegetable beds, Edible Academy, NYBG, Opening Day Ceremonies, June 14 (Carole Di Tosti)

Additionally, as films like Eating Animals indict agribusiness, industrial farming and industrialized animal husbandry, individuals acknowledge the importance of farm to table, fresh versus canned or frozen, and organic and free ranged chicken or beef versus processed animals. The latter inhumanely raised, shot up with antibiotics, and growth-hormones and fed with bio-engineered “round-up ready” plant grains that have been sprayed with chemicals to discourage fungus or insets, are egregious components of global warming.

Edible Academy, NYBG

Herbs, purple basil, parsley, rosemary, Edible Academy, NYBG (Carole Di Tosti)

NYBG, Edible Academy, Opening Day Ceremonies June 14

Another view from inside the kitchen classroom looking out on the garden with children and attendees to celebrate the dedication of the Edible Academy, NYBG, June 14 (Carole Di Tosti)

Not only have agribusinesses and the correlative processed food industry impoverished once noble farmers making them into indentured servants, the toxicity of food additives and preservatives have wrecked our metabolisms and immune systems. Since fast food consumerism burgeoned and profits over healthy eating became the sine quo none of the food industry in the late 1970s, obesity rates of families have risen steadily to the present. Related illnesses never seen before like increased instances of childhood diabetes, high blood pressure and inflammation have been recorded by doctors. Clearly, acidity and toxicity have overtaken our bodies based upon our eating habits as we have chosen fast food convenience over healthy planned “start from scratch” meals at home.

Edible Academy, NYBG, Opening Day Ceremony June 14

Various vegetables, Edible Academy, NYBG, Opening Day Ceremonies, June 14 (Carole Di Tosti)

Scientists and nutritionists have acknowledged the long-term impact of the chemicals we ingest in our food, drinks and water.  In positing chemicals’ (including food preservatives, dyes, MSG, flavor enhancers) deleterious side effects on the human immune system, Europe has banned over 1000 chemicals emphasizing non GMO, non-irradiated produce and wheat, few preservatives, artisanal meat, cheese, wine and more.  In France they have managed to keep out Monsanto corn and soybeans, which is the only offering in the US. In Italy they have created the slow food and slow wine movement since 1989, encouraging fresh, locally grown in cooperative farming as they eschew fast food and processed food.

Edible Academy, NYBG

Edible Academy, NYBG, fresh sweet peas have no preservatives like canned peas (Carole Di Tosti)

Thankfully, the US has caught on, though we have remained behind Europe. We only ban 80 chemicals recognized to be toxic for human consumption, which is to say there are 920 chemicals or more that should be banned. Sadly, recent political developments and the vitiation of environmental policies and Food and Drug regulations threaten even the small strides we have made.

NYC Mayor de Blasio, Gregory Long, Maureen K. Chilton, Carrie Rebora Barratt, Ph.D., Edible Academy, NYBG,

Center- Mayor de Blasio (R) outgoing CEO and president Gregory Long, (L of the Mayor) Carrie Rebora Barratt, Ph.D. incoming CEO and president, with Chairman of the Board Maureen K. Chilton and government officials who support this effort, Edible Academy, NYBG, Opening Day Ceremonies, June 14 (Carole Di Tosti)

Rappaport Family Toolshed, Edible Academy, NYBG, Opening Day Ceremonies June 14

Rappaport Family Toolshed, Edible Academy, NYBG, Opening Day Ceremonies, June 14 (Carole Di Tosti)

Thus, the NYBG Edible Academy is needed now more than ever, and surely, it remains a beacon for us in dark times. As a sanctuary for living plants and animals (native wildlife), it reminds us that we must uplift who we are, what we put in our bodies and what we must allow in the broader society. Above all the Garden is a bulwark which encourages us to remember we are interconnected with the earth, and thus, must do our part to help our human, plant and animal communities thrive.

Outgoing CEO and President Gregory Long, NYC Mayor Bill de Blasio, Chairman of the Board Maureen K. Chilton, Edible Academy, Opening Day Ceremonies June 14, NYBG

(L to R): Outgoing CEO and NYBG President Gregory Long, NYC Mayor Bill de Blasio, Chairman of the Board Maureen K. Chilton, Dedication of the Edible Academy, June 14, NYBG (Carole Di Tosti)

To these ends, The Edible Academy expansion is money well spent especially for New York City children. The area around NYBG has one of the highest rates of food insecurity in the nation. Many do not have access to fresh, affordable fruit and vegetables. Indeed, as a result there are high rates of obesity-related ailments. However, there is good news. Extensive research has shown that children who plant and harvest their own produce develop important life skills as they shop, prepare and cook their meals with wisdom. And they are more likely to eat healthful fresh fruits and vegetables and cook meals “from scratch” because the food flavors are incredible.

NYC Mayor Bill de Blasio, Edible Academy, NYBG Chairman of the Board Maureen K. Chilton, Opening Day Ceremonies June 14

NYC Mayor Bill de Blasio (center) with Chairman of the Board Maureen K. Chilton and donors of the Edible Academy, Opening Day Ceremonies, June 14, NYBG (Carole Di Tosti)

As a measure of the support for the importance of the NYBG mission, Garden leaders, government officials, corporate and foundation donors and dozens of Bronx schoolchildren showed up on June 14, 2018 to celebrate the opening of the Edible Academy’s momentous occasion. The Academy, which has been in the physical works for about eighteen months, has been in conceptualization for years. “We have long dreamed of expanding the Ruth Rea Howell Vegetable Garden,” said Maureen K. Chilton, Chairman of the NYBG Board of Trustees, who added, “With the opening of the Edible Academy, we will now be able to offer even more educational resources, impacting the lives of countless children as they learn about gardening, plant science and healthful living.”

NYC Mayor Bill de Blasio, Ribbon Cutting Ceremony, Edible Academy Dedication June 14, NYBG

NYC Mayor Bill de Blasio cuts the ribbon in the Opening Day Ceremony dedicating the Edible Academy, NYBG, Opening Day Ceremonies, June 14 (Carole Di Tosti)

Mayor Bill de Blasio, NYC Cultural Affairs Commissioner Tom Finkelpearl, Bronx Councilmember, Ritchie Torres, New York State Senator, Jeffrey D. Klein, NY State Assembly Speaker Carl E. Heastie, NYC Council Speaker Corey Johnson and other officials were present as Mayor de Blasio cut the ribbon and opened the ceremony dedicating the expansion. Mayor de Blasio affirmed that the City of New York provided $8.6 million for the Edible Academy through the Department of Cultural Affairs. And through the leadership of the NYS Senate and Assembly, the Edible Academy received $2.5 million.

NYC Mayor Bill de Blasio, Tom Finkelpearl, Maureen K. Chilton, Gregory Long, William D. Rueckert, Dr. Carrie Rebora Barratt, Edible Academy Dedication June 14, NYBG

Student presenting the first harvest in the dedication of the Edible Academy. Mayor de Blasio speaks to another student behind the podium who presented his basket. Present with the Mayor are Commissioner of the NYC Department of Cultural Affairs Tom Finkelpearl, Gregory Long, Dr. Carrie Barratt, Maureen K. Chilton, William D. Rueckert-President of the Cleveland H. Dodge Foundation

Ruth Rea Howell Vegetable Garden, Green Thumb Garden, Global Garden, Children's Gardening Program Garden, Edible Academy, NYBG

Ruth Rea Howell Vegetable Garden is a collection of three gardens, Green Thumb Garden, Global Garden, Children’s Gardening Program Garden, Edible Academy, NYBG (Carole Di Tosti)

Mayor de Blasio along with other speakers identified the importance of the Edible Academy to influence generations. He stated, “Though New York City offers students access to parks, cultural institutions, and educational experiences unlike anywhere else, opportunities to learn about agriculture in our urban jungle can be a little harder to find.” And he added, “Now, more children, educators and families can use this extraordinary resource to better understand the connections between diet, well-being and the stewardship of our planet.”

Edible Academy, NYBG

Italian Garden, Edible Academy, NYBG (Carole Di Tosti)

Edible Academy, NYBG

Caribbean Garden, Edible Academy, NYBG (Carole Di Tosti)

That Mayor de Blasio has a heart for children not only was evidenced here at the opening of the Edible Academy. Some days later the Mayor found out like the rest of us through fine investigative journalism that immigrant children were being separated from families in the President’s new Zero Tolerance Policy at our Southern Border. Housed in cages, sleeping on concrete, not knowing where their parents were, some were flown in secret at night to New York City shelters unbeknownst to city or state officials.

Global Garden, Edible Academy, NYBG,

Global Garden, Edible Academy, NYBG. After the ceremonies guests had lunch at the Solar Pavilion (Carole Di Tosti)

After the Mayor and Governor Cuomo flew to the border, apprised the situation and came back to the city, some of the children were located in Harlem and increased services were provided. On the news Mayor de Blasio and others stated that the number of children in New York City, once thought to be 239 was now hovering around 600 for those at a Daytime facility. Most probably, the WH administration has had immigrant children flown to other areas of New York City, perhaps even the Bronx. Thus, in the upcoming months, the Garden and the Edible Academy may offer a measure of encouragement and support if such children over the years find their way to the doors of the Edible Academy.

Edible Academy, NYBG, Susan P. and Coley Burke Amphitheater

The Susan P. and Coley Burke Amphitheater beyond the greenhouse, Edible Academy, NYBG, Opening Day Ceremonies June 14 (Carole Di Tosti)

Before you visit the Academy, read up on the innovative and sustainable design elements to appreciate the buildings set into the farm-like setting. The campus includes a green roof for the classroom building, geothermal wells for heating and cooling, a freestanding solar pavilion to help power the facility, and composting toilets. Of course all are designed to minimize the environmental impact of the facility and support one of the largest educational gardening programs in the US. These sustainability features meet the criteria for certification as a Leadership in Energy and Environmental Design (LEED) Gold Project. What an amazing learning facility for NYC children which is in keeping with New York State’s philosophy to affirm the 2015 Paris Climate Agreement despite its rejection by the current WH administration.

There is so much to see and do at NYBG, you will need to make a number of visits during each of the year-round exhibits (Holiday Train Show, Orchid Show, Rose Garden, Spring blooms: azealas, daffodils, lilacs, Summer Concerts, Fall Pumpkin Weekend, etc.) and activities. If you have kids, they will love the Edible Academy and the Everett Children’s Adventure Garden which has seasonal, year-round events and fun programs. Certainly, a Garden family membership will pay itself off many times over and comes with additional free parking.

Heliconia, Crab's Claw Ginger, 1939, oil on canvas, Sharon Twigg-Smith Collection, Georgia O'Keeffe, NYBG Exhibit, Georgia O'Keeffe Visions of Hawai'i

Heliconia, Crab’s Claw Ginger, 1939, Oil on Canvas, collection of Sharon Twigg-Smith, Georgia O’Keeffe, NYBG’s Exhibit, ‘Georgie O’Keeffe: Visions of Hawai’i’ (photo taken at the Luesther T. Mertz Library Art Gallery by Carole Di Tosti)

NYBG Exhibit Georgia O'Keeffe: Visions of Hawai'i, Enid A. Haupt Conservatory Heliconia Crab's Claw Ginger

The real Heliconia Crab’s Claw Ginger at the Enid A. Hapt Conservatory, NYBG Exhibit ‘Georgia O’Keeffe: Visions of Hawai’i’ (Carole Di Tosti)

Currently, the main exhibit, Georgia O’Keeffe’s Visions of Hawai’i (through October 28th) makes its home in the Enid A. Haupt Conservatory, at the Luesther T. Mertz Library and Art Gallery and elsewhere in the Garden. At the Art Gallery you will see gorgeous paintings inspired by plants and scenic vistas from Georgia O’Keeffe’s commissioned journey to Hawai’i. Look for outdoor installations by contemporary Hawaiian-Chinese sculptor Mark Chai, inspired by the forms of the plants that O’Keeffe encountered while visiting the exotic paradise.

Mark Chai, NYBG Exhibit, Georgia O'Keeffe: Visions of Hawai'i

Installation by sculptor Mark Chai, NYBG Exhibit ‘Georgia O’Keeffe: Visions of Hawai’i’ (Carole Di Tosti)

And take a tram ride to the Edible Academy and spend time investigating the campus. You will enjoy the Ruth Rea Howell Vegetable Garden (three gardens), the Classroom Building (with a demonstration kitchen classroom), the greenhouse, the Pauline Gillespie Gossett Overlook Pavilion (you see the Bronx River), the Susan P. and Coley Burke Ampitheater, the Solar Pavilion, the Wamsler Phillips Plant Nursery and much more.

For Garden programming, CLICK HERE.  For membership CLICK HERE.   For the Summer Concert Series CLICK HERE.  If you have never been to the NYBG you are missing a treasure in NYC that you cannot divine until you visit. It is one of New York City’s hidden gems, a haven and a sanctuary for thousands of visitors and members each year. But do not wait to the last minute of the Georgia O’Keeffe exhibit or any exhibit for that matter. You will be bumping into crowds who want to go one last time to experience the Garden’s wonders.

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‘Chita Rivera and Richard Ridge in Conversation’

May 8

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Chita Rivera in Conversation With Richard Ridge, League of Professional Theatre Women, NYPL for the Performing Arts at Lincoln Center

‘Chita Rivera in Conversation With Richard Ridge,’ NYPL for the Performing Arts, presented in collaboration with the League of Professional Theatre Women (Carole Di Tosti)

Chita Rivera is a Broadway legend and one of the most gracious and prodigious theatrical talents one would want to meet. Richard Ridge is the lead correspondent for Broadway World the go-to place online to find everything you want to know about Broadway, its stars, its happenings. For those who were there on Monday evening, 7 May they received a great treat.  The New York Public Library for the Performing Arts at Lincoln Center in collaboration with the League of Professional Theatre Women presented Chita Rivera in conversation with Richard Ridge. After the interview, members discussed with Co-Chairs Pat Addiss and Sophia Romma who produced the event how they appreciated Chita Rivera’s authenticity and great good will, and Richard Ridge’s superbly guided questions.

Much of the evening which was too good to miss is captured here with some edits. I chose to sum up the beginning and conclude on a positive affirmation that strikes me as suffusing all that Chita Rivera has accomplished in her amazing life with her last comment in this piece. It is why she is who she is, after all is said and done!

The interview began with Richard Ridge asking Chita Rivera the “sixty-four thousand dollar question,” how she became a dancer. Chita Rivera’s answer is one for the ages. She said that she was a tomboy. And one day jumping from the chair to the coffee table, she missed her mark. Exasperated her mother said, “That’s it. You’re out of here. You’re going to Doris Jones.” From a time perspective and having raised children, Chita Rivera surmises, “I had no idea my mother was so smart. She wanted to save the house.”

Apparently, her mom who had exquisite legs and the most beautiful turnout, wanted to be a dancer, but chose to raise five children. However, she championed her daughter Chita to do that which she thought might work out to keep her daughter entertained and “the house saved.” What follows is Richard Ridge’s wonderfully knowledgeable and finely researched informal interview with the inimitable Chita Rivera.

NYPL for the Performing Arts at Lincoln Center, Chita Rivera, Chita Rivera in Conversation With Richard Ridge, LPTW

Chita Rivera, ‘Chita Rivera in Conversation With Richard Ridge,’ presented in collaboration with the League of Professional Theatre Women and NYPL for the Performing Arts at Lincoln Center (Carole Di Tosti)

So it was Doris Jones who took you to New York for your audition for George Balanchine? What was that like?

Well, we were very obedient in those days to adults and when you have someone wonderful like Miss Jones, it’s easy. Louis Johnson was really the first male, black dancer in the New York City ballet. He was my partner in Ms. Jones’ school. So the two of us won a scholarship to audition that day.  I got out of the elevator and saw this gorgeous girl with legs up to my shoulders and so skinny and so beautiful and so calm. I looked at Ms. Jones and said, I’m scared. And Ms. Jones said, “Just stay in your lane.” And I’ve been staying in my lane ever since. You find out who you are by being who you are.

So you accompany a friend to the touring audition to Call Me Madam. What happened when you got there.

Well, Helen (I can’t remember her last name)…approached me in class and said,  “Chita, I’m not on scholarship. I have no money. Will you go with me? I’m scared to death.” I said, “Absolutely.” I wasn’t frightened because it didn’t mean anything to me except it was an experience. I got the job but Helen didn’t! I haven’t heard from her since. So if anyone hears from her, let me know. (laughter) So I went home and told my mother, “They’ve offered me $250 dollars a week to go on the road with a woman by the name of Elaine Stritch!” I don’t think at the time I had even seen a Broadway show. But I loved it. It was an exciting time to be doing the choreography. The choreographer’s name was Jerome Robbins. And I got one of the four principal dancers. So I just continued to do what I was told and it was an amazing experience. It was the beginning of everything.

Doris Jones had performances when we were in her school. So I had the opportunity to dance during concerts and on point. But I never got the chance to dance with the New York City Ballet. I’ve thought about that. And I’m just fine about it. (laughter) And Ms. Jones, God love her, she had gorgeous schools. I invited her to see my shows and she never came. And one day, when I was doing Kiss of the Spider Woman, I was in a restaurant and there was Ms. Jones. I said why haven’t you come to see me? Are you ashamed of me? She said, “I’m busy making little Chita Riveras (laughter). I just let you out into the world.” So I give Ms. Jones all the credit. (applause)

NYPL for the Performing Arts at Lincoln Center, Chita Rivera Richard Ridge, LPTW

‘Chita Rivera in Conversation With Richard Ridge,’ presented in collaboration with the League of Professional Theatre Women and NYPL for the Performing Arts at Lincoln Center (Carole Di Tosti)

You did Guys and Dolls and then Can Can when you started your life-long friendship with Gwen Verdon. What did you learn from her. And that day you were called into her dressing room what did she say to you?

I’ve always said that if I am reincarnated, I’d like to come back as the carriage instead of the horse. I think most dancers would like to be the carriage because the horse pulls and pulls and does the hard work…the carriage gets to carry the amazing people…what was the question?  (laughter)

The dressing room when Gwen Verdon called you.

Michael Kidd choreographed the show. She was extraordinary. I lived in the wings of every show I ever did  and learned so much that way. She called me into her room. At that time you didn’t cross a star’s threshold, not unless someone asked you to. You didn’t just presume. And so I went in. I remember her clearly saying to me, “Chita, you should be brave enough to go out and look for parts you can create for yourself.” I realized she was giving me courage and making me go out and find out who I am. And shortly after that, I did get a part. The fabulous Gwen Verdon! And the next time I saw her we were behind the amazing Tony Walton set and  there we were in top hat and canes and I looked at the back of her head and thought, “Oh my God.” I’m standing next to Gwen Verdon. It was amazing. You don’t realize it until you’re in it and then you go, “Yeah!” And you don’t want to be anywhere else. You want to be there. She was a phenomenal artist and great friend.

Well the role that catapulted you to stardom was Anita in the groundbreaking musical West Side Story. (applause) We just celebrated Jerome Robbins’ 100th Anniversary.

Right and this is the 61st Anniversary of West Side Story. I always say, I’ve been running around living the life of a 35 year-old all these years and I never realized how old I was. So for age? Don’t count it, unless it’s 5, 6, 7, 8 (laughter/applause). We worked hard at the auditions and we didn’t realize we were working hard. We just were because that’s what you do. There were several auditions. It was Kenny Leroy as Bernardo. We had to be matched up with our guys. We didn’t realize we didn’t know how to sing. We were taught on the spot. And of course dancing is acting. And suddenly we had words. It was extraordinary. It was tough but it was good because we learned.

At what point during that process did you realize that the show was a such a phenomenon.

I don’t know if I realized it. I was so busy living it.  You don’t have much time to realize it unless you’re looking at a fellow actor and you get those responses. We got to Washington, DC and “America” stopped the show dead. We didn’t know what to do with that. We said to Jerry, “What do we do?” Jerry said go downstairs, change your clothes and get ready for the next scene. That was the first time we got any kind of feeling about the response. But all along it was being built, the value of the words, the excitement. “Cool” was better than “America” but “Cool” came after “America.”  “Cool was an extraordinarily choreographed piece. I watched from the wings when I wasn’t onstage.

NYPL for the Performing Arts at Lincoln Center, Chita Rivera, Richard Ridge, LPTW

‘Chita Rivera in Conversation With Richard Ridge,’ presented by the NYPL for the Performing Arts at Lincoln Center and the LPTW (Carole Di Tosti)

You went to Leonard Bernstein’s apartment and learned a song at his piano?

I sure did. It’s kind of fun to say, “Lenny” and think that I knew him and that this amazing genius is a kind, giving soul. Well, I rang the buzzer. He escorted me to his music room, and I sat next to him on the piano and was nervous. And I carry little angels with me on my shoulders. One tells me what to do, the other tells me, “Don’t do that.” I remember one of them said to me, “You know you’re sitting next to Leonard Bernstein.” And the other one said, “Do exactly what he says.” So I listened to him and it was then I heard my own voice. He pulled it out. He just had a way of making you find yourself. And making you feel comfortable in your own shoes. He had the excitement for himself and the show. He was directing the quintet and we were all on the set. He was in the pit standing on a chair and he got so enthusiastic that he went straight through the chair. But dancers love to laugh anyhow, so we had a good laugh.

Could you sum up the best part of working with Jerome Robbins, what it was for you?

I don’t know because there are so many things. I used to call him “Big Daddy.” He had all the answers as far as I was concerned. I remember one time I was standing downstage. He was giving us a five minute break which I rarely took. Mickey Calin was gorgeous and several girls were hovering. I saw Jerry looking at Mickey and I got very nervous and I walked past him and said, “Don’t do it.” He was about to kill him, slaughter him.  And we had a laugh and he said, “You’re a witch. You’re just a witch.” We had that kind of relationship because we all had respect for each other. And we were working so hard. And there’s nothing better than working hard and finding out that you can do it. What a creator he was. He introduced us to words and music and worlds we never knew. And feelings we never knew we had. That’s how you build your canvas, your life.

You created the role of Rose in the Broadway smash, Bye, Bye Birdie. (applause) You almost turned that show down, didn’t you?

Well, I read the script.  Really! Who’s going to sit up there as a parent and let all these kids talk on the telephone? I wouldn’t let my daughter talk on the phone that long. I also learned that we don’t know what we’re talking about. Shut up and do your job. (laughter) Let them do theirs, you do yours. Gower Champion! He brought technicolor, he brought humor, he brought class, he brought Hollywood. And of course, then there was that funny person Dick Van Dyke. I just watched him. I am a great thief and I will steal. I have been around extraordinary people, so I just watched and learned a lot from them. And Dick is one of the funniest, kindest, most giving people in the theater. He’s 92 and he still going strong. He’s still funny. Don’t lose your sense of humor.

You’ve received many great phone calls during your career. Tell us about the phone call you received from Cy Coleman, Gwen Verdon and Bob Fosse.

It was from Cy. It is amazing that I know these people. It is wonderful to know them. They asked if I would take the original of Sweet Charity on the road. There was Ben Vereen, Thelma Oliver and the greatest chorus of dancers. So we did it. That was a great phone call.

Chita Rivera, Richard Ridge, NYPL for the Performing Arts at Lincoln Center, LPTW

Chita Rivera in Conversation With Richard Ridge, presented by NYPL for the Performing Arts at Lincoln Center and LPTW (Carole Di Tosti)

Then you got to do the film version.

The cherry on the top was that it was a wonderful experience to do the entire show for almost a year and another cherry to be with my buddy Shirley MacLaine. She always had a great sense of humor and we always made fun of her right to her face. Once when we were filming, we were supposed to head up to the rooftops, turn on a dime, run down a ramp. The lineup was Shirley was in the front, less to travel, then I was next, then Paula Kelly who was extraordinary. She had the furthest to travel. I loved to dance with the boys. They had the power, but I couldn’t travel like that. But Paula could. She was amazing. We were pulled aside and told, do exactly what they said for the shoot. So we hit it the first couple of times and on the third time, that was the final take. I said, “Damn.” I knew I wanted to travel further. It would fulfill my faith in myself. (laughter) I knew Paula was flying. I saw her out of the corner of my eye. That’s what the chorus does to you. You can see 360 degrees. Shirley said, “What’s wrong, kid?” I said it just didn’t feel right. She asked the director, “Can we do another take?” So we did it again. That was just great!

You received your second Tony nomination the original for Velma Kelly in Chicago, John Kander  and Fred Ebb and Bob Fosse. (applause) What happened the first time you heard the vamp to your number?

Well, I knew John Kander wrote great vamps. No one writes great vamps like John Kander. When you hear Liza’s vamp in Cabaret, it’s John Kander’s. When you hear Joel Grey’s vamp, you know John Kander wrote it. I said in my head, “Oh, I want a vamp.” John comes in and says, “Come on I want to play your opening number for you.” We go down to the theater and he started with Dum, dum…and I was so excited. And he said, “Wait Chita, that’s just the vamp. Wait for the song.” (laughter)  It was just an amazing song. And when the curtain opens up on Tony Walton’s fabulous set? The theater is just greatest place in the world. (applause) You can go to so many different worlds, see so many different things, tell so many wonderful stories. I remember when my mother passed away. I was in Merlin. It got terrible reviews, but it was a magical show. When she passed, I don’t know what I would have done. But I went to the theater and I was placed in another world and it saved me. It saved me. So I’m very, very grateful.

Richard Ridge, Pat Addiss, Chita Rivera, NYPL for the Performing Arts at Lincoln Center, LPTW

Richard Ridge, Pat Addiss, Chita Rivera, ‘Chita Rivera in Conversation With Richard Ridge,’ presented by NYPL for the Performing Arts at Lincoln Center and LPTW (Carole Di Tosti)

You were in another world when you played Anna at a roller skating rink in John Kander and Fred Ebb’s The Rink.

They called and said, “We have another show, Chita, and want to know if you’d like to be a part of it?” I said, Well, let me think about it…Yes. They said, “You’ll have a co-star. How would you feel about Liza Minelli?” I said, well, I really have to think about that…(laughter) Of course! We’ve always wanted to play girlfriends. There was silence. They said, “Well, gee. It’s not girlfriends.” I asked what? They said, “It’s mother and daughter.” I asked who plays the mother? (laughter) Keep  your sense of humor! But it was great. Every once in a while I found myself standing in front of Liza who was a joy to work with. I had met her mother. Make sure you’re there! Don’t miss the knowledge of those moments.

Your leg was broken during a car accident. It was broken in twelve places which required 18 screws. You were told you’d never dance again. You know many stars have life-threatening things happen to them. What got you through that experience?

I think my mom and my family. And I think of the example of Ms Jones, the way she taught us. I clearly remember going into the Emergency Room in shock. The X ray technician said, “Oh how nice to meet you.” (laughter) She takes the picture and comes out and says, “Oh, you did a good job on yourself.”  I clearly remember shifting gears. I remember saying, “Oh shit.”  And the climate of my mind totally changed. Then I thought, “What’s next.” Then Gary Chris who is a friend of mine and beautiful dancer  talked to me. I realized it’s one of life’s lessons. Every single day, things change. You accept things for what they are and you just keep going. And I don’t think I could have kept going without learning from my teachers. It’s incredible to be recuperating in bed and feeling the healing happening gradually.

Richard Ridge, Pat Addiss, Chita Rivera, NYPL for the Performing Arts, LPTW

Richard Ridge, Pat Addiss, Chita Rivera, NYPL for the Performing Arts at Lincoln Center and LPTW presenting ‘Chita Rivera in Conversation With Richard Ridge’ (Carole Di Tosti)

You accepted another Tony Award for Aurora in Kander and Ebb’s Kiss of the Spider Woman. (applause) Aurora was difficult to find because she is made up of fragments.

Yes. Fragments. When I finally realized not to become too desperate to find out who she was, to just be patient, one day, I realized that I was in his mind, his imagination. Then I found the character. It was his imagination because he envisioned her. I had the support of the amazing actors and Rob Marshall’s choreography and Hal Prince’s direction. It was so beautiful. The story was extraordinary. It was a story I wanted to make sure was heard. It was beautiful to look at. I wondered how was I going to be in the web? They said, you’ll see. It was a projection and I was standing in the center of the stage and I looked as though I was hanging on this web. I did do a lot of climbing. But my name is Chita. (applause) I’m lucky, really lucky to be around at the time these great shows were created and to work with such amazing people.

You played opposite Antonio Banderas in the stunning revival Nine. Everyone in the audience wants to know what was it like sharing the stage with Antonio Banderas.

I had several people say, you did that tango with Antonio and you did that high kick split. How did you do that? I said, you would be able to do that too if you were with Antonio Banderas. (laughter) Antonio Banderas was so extraordinary in that show and so was Raul Julia in the original. Extraordinary. I loved what Tommy Tune created. Raul? I could have done that split with Raoul. Antonio is the lover we have seen on screen. He was so perfect, so beautiful. So for my audiences, I tell them everything you’ve dreamed about Antonio is true. He was great to work with, sang, never missed a show. You know he’s a wonderful actor.

You received your ninth nomination on Broadway for Chita Rivera: The Dancer’s Life (book by Terrance McNally) What gave you the great pleasure of performing the show across the country for people who couldn’t get to New York.

First of all there are so many sensational theaters across the country. Those people are theater hungry. So it’s a joy to bring a show that you’re proud of to them. And they really appreciated it. So when someone asked about doing it? I thought, initially, what do I have to offer? You’re so busy, you don’t step back and look at your body of work and yourself because it’s you and you live it. The story is the adventure of my life. It’s God’s way of letting me realize what I have. Four brothers and sisters, music everywhere, my father’s a musician in a white suit, I’m telling it and hearing it at the same time. I think  damn! This is interesting. It’s a lot of music when music means so much. We had a great time. Dancing on the kitchen table with a lot of hungry kids and Graciella Danielle’s imagination? Wonderful.

Chita Rivera, NYPL for the Performing Arts at Lincoln Center, Richard Ridge

Chita Rivera, ‘Chita Rivera in Conversation With Richard Ridge,’ presented by NYPL for the Performing Arts at Lincoln Center and LPTW (Carole Di Tosti)

You recived your 10th Tony nomination for your emotionally moving and mesmerizing performance in John Kander, Fred Ebb and Terence McNally’s The Visit.

You know I say, I don’t need any more friends. I have enough friends. It’s a responsibility to return those calls. But Roger Rees who left us is a friend I got to know only a little bit, but I did have some time with him. He was a wonderful man and a wonderful actor. The piece was so dark that people thought the show was about revenge. No. It was about love. Yes, some people died, but it doesn’t mean it wasn’t about love. And the truth comes out that they have made mistakes themselves in the “Yellow Shoe” song. My character buys the town up. But she arrives with the casket empty and leaves with him in the casket. But she makes the entire town realize that he did love her. I just loved it. I thought John Doyle did an extraordinary job. And the score that John Kander wrote was wild and wonderful. The production and the characters are really what theater is all about.

What do those three men, John Kander, Fred Ebb and Terrance McNally mean to you?

Well, they knew things about myself that I didn’t know. They allowed me to get to know me. They put words in my mouth I might not have said, but I certainly grew to understand. Freddy knew my sense of humor. John writes the most beautiful music you could ever hope to sing. Terrance, I don’t remember meeting him 60 years ago. I learned so much from him. They made me feel good about myself. They cared and they became like partners in life. Fred is not with us anymore. But in a way he still is.

In 2009 Barack Obama awarded you with the Presidential Medal of Freedom. (applause) What was it like to be in the room?

Oh please! Barack and Michelle Obama? I remember watching him when he and Michelle were dancing…he had a little bop. A tiny bop. I said to Michelle, is that a bop? I know that bop! I think it’s just great. And Michelle said, “Yeah. That’s his bop. It’s the only step he’s got.” (laughter) But to be in the same room? I think after a while, you just have to say, “Thank you God!”

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Tribeca Film Festival Review: ‘Netizens’

May 3

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Carrie Goldberg, Anita Sarkeesian, Tina Reione, Cynthia Lowen, Netizens, Tribeca FF premiere, and Q and A

(L to R): Carrie Goldberg, Anita Sarkeesian, Tina Reine, Cynthia Lowen, premiere screening ‘Netizens,’ Tribeca FF Q & A, moderated by Lauren Duca (Carole Di Tosti)

Women’s place in the culture as second class citizens viewed as sex objects and predatorized has never been more apparent with the #MeToo movement. Of course Hollywood tradition, the film industry, television and corporate business are notorious for predation of women which appears under the guise of adoration of women. Men just can’t keep their hands away from nor keep their sexual organs outside of beautiful women. They can’t control themselves. What a canard! Nothing could be further from the truth. Any form of sexual predation, rape, abuse, harassment, violence, molestation is misogyny, not adoration. There are no sexual components that apply, though men almost universally characterize such behavior as sexual and not violence. The documentary film Netizens which premiered at Tribeca Film Festival, directed by Cynthia Lowen, identifies this canard, as it focuses on three women who have had to confront such abuse and its attendant misogyny online.

The battles of these women to gain justice with legal representation coincide with the #Me Too movement. Theirs has been a lonely and humiliating walk until justice arrived on their doorsteps. Various online Social Media habitats provide a way for Incells and others to band together in a cultish, vituperative fan club of twisted men, who, with anonymity and impunity, stalk, harass and insult women they deem  noxious and vulnerable. Such mentally disturbed guys with an axe to grind against females lurk behind a cyber avatar. Social media is largely un-policed by law enforcement. Nor do Social Media companies accept responsibility for such abuses which they dismiss. Law enforcement and Social Media companies are proportionately empowered by men. Conveniently due to gender bias, most do not perceive sexual harassment as a cyber crime. With regard to law enforcement, unless there is bodily harm and a name, cyber cretins easily remain beyond the justice system.

Carrie Goldberg, Netizens, Tribeca FF premiere and Q & A

Carrie Goldberg in ‘Netizens,,’ premiere screening Tribeca FF and Q & A (Carole Di Tosti)

Cynthia Lowen’s insightful documentary follows lawyer Carrie Goldberg’s frustrations and revelations about our justice system’s (during Obama, now it’s conceivably worse), ineffectuality when dealing with cyber harassment. In this era of Russian interference on Social Media and Facebook’s “unwitting” participation with Cambridge Analytica’s handing over of user information, the potential for abuse has skyrocketed even more. Though Lowen’s film does not delve into the 2016 election aftermath and the Russian hacking, the online abuse of individuals supporting Hillary/Obama against Trump has been legion. Thus, the Social Media landscape is ripe with rotten fruits from corrupted trees that need to be cut down or burned.

Lowen’s work intimates such cyber attacks and propaganda by focusing on the elements which allow individuals to abuse and stalk. The key is anonymity and/or the ease with which poseurs may create a fictitious identity and use it as a means to insult and character assassinate.

Netizens deals with the female/male dynamic. Through the testimony and comments of Carrie Goldberg, Tina Reine and  Anita Sarkeesian, their video interviews reveal an intense personal struggle with online bullies and predators. Through her interviews primarily with these women and others of similar experience, Lowen’s documentary creates a discussion forum for activism. These three represent what happens to thousands of women daily who are attacked and bullied publicly without adequate judicial recourse in the face of Social Media companies who dismiss their complaints or tell them to “log off.” Sadly, such harassment often spills into life, especially if the warped anonymous abuser projects all of their rage and mental illness onto their hapless targets.

Not only does Lowen include interviews with advocates, experts both male and female, she incisively indicates all the forms digital harassment and cyber violence take during her interviews. Her intake of comments by teenagers and the key subjects provide vital mentoring information for women young and old. Some cyber violence tactics include non-consensual pornography, revenge porn, duress rape, and privacy invasion. The documentary’s revelations coincide with countless stories of tween abuse where male teenagers for merriment put rape videos of alcohol comatose young girls online. One such case is documented in Roll Red Roll.

Anita Sarkeesian, Netizens, Tribeca FF and Q & A

Anita Sarkeesian in ‘Netizens,’ Tribeca FF premiere and Q & A (Carole Di Tosti)

The consequences are often horrendous. In the instance of those who intend to maintain their business careers, stalkers and harassers often spend hours conniving to destroy the individual and her career via Social Media using online character assassination. In the case of teens violated through bullying their character destroyed on Social Media via pictures and demeaning, denigrating insults, (though Lowen doesn’t deal with suicide per se), such cyber assaults may end up in teen suicide. Only because the women Lowen highlights sought out Goldberg’s legal representation, and in the case of Sarkeesian only because of her powerfully voiced feminist activism does the film have a more satisfying conclusion. Indeed, Reine, Goldberg, Sarkessian and others rely on their inner power to thrive and step above victimization.

However, others have not been as successful. And one reason this film is vital is to educate and inspire young women to empower themselves, speak up and express their voice refusing to back down when cyber attacked, bullied, or sexually cyber predatorized online.

Lowen shadows Lawyer Carrie Goldberg and the others via cinema vérité with superb edits to effect a fascinating and at times disturbing picture of the underbelly of cyber violence. Through interviews with Goldberg and others she dissects a justice system that largely refuses to acknowledge digital abuse as a prosecutable crime. Indeed, New York State is remiss and Goldberg points this out at a speaking engagement that Lowen captures in video clips. Lowen also follows Goldberg in discussion with various clients (a young women who remains anonymous) who seek relief from being terrorized online via their photos being used to strip them of dignity and sanctity as insult upon insult violates their privacy and peace.

Cynthia Lowen speaks at Tribeca FF Q & A after the screening of Netizens.  L to R:  Lauren Duca (un pictured moderator) Tina Reine, Carrie Goldberg, Cynthia Lowen

Lowen’s interviews and shadowing of celebrity Anita Sarkeesian, a media critic, feminist, blogger and activist are particularly enlightening. Sarkessian, an outspoken feminist has taken down the gaming culture and has been threatened, excoriated and vilified for it. Sarkessian reveals the typical day of threats she receives, including bomb threats and death threats. Sarkeesian, a Canadian American is the founder of Feminist Frequency, a website that hosts videos and commentary analyzing portrayals of women in in popular culture. She hit the mark and received some of the most vile cyber harassment with her video series Tropes vs. Women in Video Games, which examines tropes in the depiction of female video game characters.

Anita Sarkeesian, Tribeca FF premiere screening ‘Netizens,’ Q & A

Sarkeesian’s impact may be gauged in that she needs an armed escort when she fulfills public speaking engagements. Interestingly, Lowen reveals the power of her message when she is surrounded by young women who recognize her as an influencer and want her autograph because they’ve been enlightened about the superficial and denigrating objectification of women in Video Games. In her speaking engagements, she has acknowledged the challenge of attempting to improve gender inclusivity in gaming culture and the media.

Sarkeesian has  taken on the ambivalent response of Silicon Valley companies to the threatening behavior they enable. But in their predominately male mind, money talks and BS walks. And they prefer for Sarkessian to walk out of their spaces and let “boys and men be boys and men.” Personal evolution, growth apart from infantile sexual fantasy, and obsession with video games is what drives their profits. Only until someone comes along to mine the finer angels of human nature will this subtle and accepted gender oblivion of women’s power and distinction end.

Tina Reine, Netizens, Tribea FF premiere and Q & A

Tina Reine in ‘Netizens,’ Tribeca FF premiere and Q & A (Carole Di Tosti)

Lowen also focuses on Tina, a successful businesswoman. After a fateful relationship which the male refused to let go of, Tina was cyber harassed in the most debilitating way. The individual used revenge porn and lies to discredit her career record. Using his own money to effect a psychological, emotional campaign of hate against her, he attacked her ability to make a living. Each time Tina would go to interviews, the few that she was invited to, the false background and lies would then appear. How she finally achieves a realm of peace, confronts the individual with legal means and regains control of her emotions and career is inspiring.

 

Cynthia Lowen’s Netizens was produced before the Brett Kavanaugh hearings, a faux attempt moderated by President Trump/Republicans to appear to examine Kavanaugh’s sexual abuse of Christine Blaise Ford in response to the clamor of the public to do so. In April 2018 however, the screening at Tribeca Film Festival and the Q and A afterward gave great occasion for the audience to feel uplifted about these women who were succeeding against online abuse and bringing their character assassins to task. After the Kavanaugh hearings, the entire culture  resumed its status quo and the concept was that once again, women “doth protest too much” and should just “shut up,” or “log off.”

Also, the watershed moments of the #MeToo Movement appear to have stalled after the onrush of women came out in force against their rapists, abusers, molesters and harassers and the men, in many instances celebrities, had their careers upended from the revelations. However, after Kavanaugh there appears to be a swing of the pendulum. Indeed, power and money talk as do the Republican conservative think tanks and societies, like the Federalists.

Another set back occurred when Jeffrey Epstein’s (accused of running teenage orgy parties that touched the lives of male officials and celebrities like Donald Trump and Bill Clinton) charges were shuttered and the testimony that should have been made public of the women he sexually abused when they were teenagers, never saw the light of day. Cover-ups of predation continue, sex-trafficking continues, bullying online via Social Media continues. Each case must be fought and won on its own merit and broadcast to the world.

Kavanaugh and Epstein push backs reveal that it is not enough for women to speak out and seek justice. Cultural mores and folkways must change; this includes for men, women and LGBTQ individuals. And for that to happen, mothers and fathers in parenting their sons and daughters must change. Women and men in their approach and relationships with each other must change. And the culture’s attitudes toward sex and love must become more fluid and tolerant. Sexuality and profitability, fueled by the infantile idea that sex is “forbidden” must die a death. Amsterdam, The Netherlands may have a healthier attitude in that they legalize prostitution and cut off the idea of predation for profit at the knees. Paying for Sex is legal. Enough is enough.

In any case, change is process. Whether face-to-face or online, sexual predation of women and men is a daily war that must be fought in homes, businesses, frat parties, dorms and online to change the culture. The change must go beyond the artificiality of political correctness down into the loins and hearts of young men and boys and the minds and understanding of young women and girls. Regardless, it will happen. It’s only a matter of time and critical mass leveled by the public.

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2018 Tribeca Film Festival Review: ‘Disobedience,’Starring Rachel Weisz, Rachel McAdams, Alessandro Nivola

Apr 29

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Rachel Weisz, Rachel McAdams, Disobedience, 2018 Tribeca FF US Premiere Screening

(L to R): Rachel Weisz, Rachel McAdams in ‘Disobedience,’ 2018 Tribeca FF US Premiere Screening (photos from the film)

Disobedience directed by Sebastian Lelio, written by Sebastián Lelio and Rebecca Lenkiewicz received its US Premiere at Tribeca Film Festival 2018. Based on the titular novel by Naomi Alderman, the film is striking for its dynamic and profoundly rendered performances by Rachel Weisz, Rachel McAdams and Alessandro Nivolo who are caught in an unwitting love triangle. Within a matter of three or four days, as long as it takes to say goodbye to a beloved rabbi, the three must reconcile the truth and establish the deepest kind of love for each other in the form of forgiveness and self-love that brings healing and acceptance.

2018 Tribeca Film Festival US Premiere Screening and Q & A, Alessandro Nivolo

Alessandro Nivola, 2018 Tribeca Film Festival US Premiere Screening and Q & A (Carole Di Tosti)

The title is an extreme irony for on the one hand no one in the film outside of the culture of the community  where the action takes place commits any wrongdoing. However, based upon the perspective of the strict, religious Orthodox community of Jews in North London where the characters play out their drama, love between two women is forbidden. And it is here that the film launches into one of the most poignant and uplifting of LGBTQ films that has been filmed to date.

Tribeca Film Festival 2018, US Premiere Screening, Rachel Weisz, Rachel McAdams, Alessandro Nivola, Disobedience

(L to R): Rachel Weisz, Rachel McAdams, Alessandro Nivola in ‘Disobedience,’ 2018 Tribeca Film Festival US Premiere Screening (photo from the film)

Ronit, a New York photographer who has been estranged from her rabbi father returns home for his funeral to pay respect and gain closure, if possible. She discovers that the Orthodox Jewish congregation holds little interest for her nor demonstrates conviviality. Even her relatives are cold. Indeed, her lifestyle and freedom living as an independent free-wheeling woman in the US has transformed her since she has shed the strict upbringing under which she was raised, though she is still Jewish. As she attempts to negotiate the services for her father, she meets old friends with whom she grew up and is shocked to discover that Esti (Rachel McAdams) has married Dovid (Alessandro Nivolo). When she discusses their relationship with them, she discovers that Esti is miserable with Dovid who has worked closely with Ronit’s father in the synagogue and most probably will take over the congregation now that the rabbi has died.

Alessandro Nivola, Rachel McAdams, Disobedience, 2018 Tribeca Film Festival US Premiere

Alessandro Nivola, Rachel McAdams in ‘Disobedience,’ 2018 Tribeca Film Festival US Premiere (photo from the film)

The film progresses slowly, profoundly and painstakingly and this is where the three actors shine in their almost second to second precision as they react to one another in measured, careful beats. We note the underpinnings and feelings that the women suppress in public. The air between them is heavy with meaning, and Dovid is sensitive enough to divine that the two have feelings for each other that transcend the ordinary relationship of childhood friends.

Eventually, the filmmaker reveals that Ronit (Rachel Weisz in a dogged and measured performance) and Esti (Rachel McAdams is the perfect foil playing off Weisz’s inner peace with a yearning grace of her own) had an affair and were intimate in complete contravention of the mores of the Orthodox community.

Ronit’s father, a rabbi, expects strict adherence to Jewish folkways for his children, and when he was apprised of Ronit’s behavior, they argued. The film is fascinating in that the father’s presence makes itself felt, though we never see him. The estrangement reveals that her father adheres more to the role of rabbi and fears the disapproval of his congregation than demonstrating the perfect law of love and grace which as a rabbi he is supposed to exemplify. Hypocritically, the rabbi wants nothing to do with his daughter. Their estrangement and his unforgiveness carry through to the disposition of his possessions and his house. He has disinherited Ronit and has given everything to charity.

Rahel Weisz, Rahel McAdams, Alessandro Nivola, Disobedience, 2018 Tribeca Film Festival US Premiere

(L to R): Rachel Weisz, Rachel McAdams, Alessandro Nivola in ‘Disobedience,’ 2018 Tribeca Film Festival US Premiere and Q & A (Carole Di Tosti)

Ronit left her father, the Orthodox Jewish folkways and culture, and sought the freedom of the US. However, it is apparent she has not left her love of God though she is free from Orthodoxy. Ronit is a sterling individual. Courageously, she carves out her own life confronting her sexual orientation as second nature for she is intimate with both men and women.

Rachel McAdams, Alessandro Nivola, 2018 Tribeca Film Festival US Premiere and Q & A Screening

Rachel McAdams, Alessandro Nivola in ‘Disobedience,’ 2018 Tribeca Film Festival US Premiere and Q & A (Carole Di Tosti)

On the other hand, Esti has had to live under the strictures that Ronit discarded. And as a married woman and a lesbian which the community considers anathema and “unclean,” she despises herself  and her hypocrisy that she has chosen a life of shame, though on the surface she is a pious, good wife to her husband. Nevertheless, like the Rabbi who has a daughter whom he cannot forgive, Esti stays in a marriage which is false and the intimacy between her and Dovid is false and truly unfair to him.

Rachel McAdams, Disobedience, 2018 Tribeca FF US Premiere

Rachel McAdams in ‘Disobedience,’ 2018 Tribeca FF US Premiere (photo courtesy of the film)

Though the film concentrates on the relationships of Dovid, Ronit and Esti, in the shadows, we understand that the Orthodox Jewish culture nullifies and pushes individuals further from God rather than closer to him in love and forgiveness. Out of all of the characters in the film, Ronit best exemplifies God’s love and it is through her loving example with Dovid and Esti that the married couple are made free to leave one another and in the case of Dovid allow himself to be free of the position of rabbi. For as a result of Ronit’s visit and the revelations that occur, he realizes he must not take up the mantle of hypocrisy that Ronit’s father has worn in front of his congregation, looking like the martyred saint, while being unforgiving to his daughter.

One of the most important themes in Disobedience cannot be overstated enough.The strict mores and unforgiving Orthodox Jewish community like any orthodox religious community creates misery and torment. The religious mores work in the reverse. They do not free. Instead, they chain the congregation to an obedience which is not loving of God who forgives. It chains them to behavior which is unforgiving its acceptance of a false obedience to the orthodoxy which discourages love and forgiveness. Thus, when Ronit first visits, we see how the congregants respond to her. Indeed, Ronit’s example is frightening to the community who rejects her rather than attempts to understand who she is.

Rachel Weisz, Rachel McAdams, Disobedience, Alessandro Nivola, 2018 Tribeca Film Festival US Premiere and Q & A

(L to R): Rachel Weisz, Rachel McAdams, ‘Disobedience,’ 2018 Tribeca Film Festival US Premiere and Q & A (Carole Di Tosti)

The conundrum Esti’s character faces becomes clear to us and to Ronit when she tells Ronit that she wanted to see her and though Ronit didn’t know who sent word, Esti admits that it was she who sent word her father died. Indeed. The complexity of their relationship, one being free and the other living in bondage and lies reveals the secret intimacy between them is a freeing one for Esti. However, before Ronit visits, Esti is incapable of seeing a way out because Dovid is a lovely, kind individual and there is external security in being with the community, though the security is a prison.

Only when Ronit and she are intimate in a hotel room and she is able to express her passion as a gay woman to one she loved in the past, does she set herself free. For her part, Ronit is settled in who she is and her own freedom kindles the love in Esti to set her at ease with her decision to leave Dovid.

By the end of the film, Ronit is a beacon to Esti and Dovid. Esti wants to be free of her shame, her hypocrisy and her unhappiness with Dovid whom she loves, but not in the fullness of expression as she loves Ronit. Ronit helps her achieve freedom to forgive herself and move on away from Dovid and the congregation.

The most poignant one in this threesome is Dovid. But he, too, overcomes the shackles of the congregation’s stultifying mores. He forgives both of the women and understands that to command Esti to stay with him or love him is unloving and hateful of her true nature. His character beautifully portrayed by Nivola is the one who evolves and accepts the challenges of discovering what love and forgiveness should be for one in a position to lead others in God’s laws of love.

The film’s pacing is particularly interesting in the beginning. All is subtext and it keeps one considering what is happening between and among the three friends. It is a must-see for the superb acting, the excellent adaptation of the script and the measured cinematography which serves characterization and theme. Kudos to all involved, especially the actors and the director who elicited their performances.

 

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Tribeca Film Festival 2018 World Premiere: ‘Stockholm,’ Starring Ethan Hawke

Apr 25

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Ethan Hawke, Stockholm, Stokholm Syndrome, Tribeca FF 2018, Spotlight Narrative Film

Ethan Hawke and Noomi Rapace in ‘Stockholm,’ A World Premiere at 2018 Tribeca Film Festival Spotlight Narrative Film, (photo courtesy of the film)

Stockholm, written and directed by Robert Budreau and starring Ethan Hawke as the American who intends to swap millions and a friend for the largest Swedish banks’ hostages is a humorous thrill ride which almost has you rooting for the “wild and crazy” poseur Lars Nystrom/Kaj Hansson that Hawke assiduously portrays. The World Premiere slated as a Spotlight Narrative Film at Tribeca Film Festival 2018 is based on the incredible true story of how a charismatic criminal lures his victims to not only allow him to hold them hostage, but also elicits their help as he attempts to escape from the circumstances which irrevocably close in on him.

Ethan Hawke in a long haired wig, cowboy hat and dark sunglasses (for the film’s beginning) is perfect for the role as the maniac  “Lars” whose bravado and energy take over the mild-mannered male and female clerks as he predatorizes their emotions, yet entertains them with his singing. Generally, he is an outrageous and likeable character and is more terrorized himself when he has to browbeat them into corners and submission with a gun.

Robert Budreau, Ethan Hawke, Tribeca FF 2018 World Premiere Spotlight Narrative Film screening

Director Robert Budreau introducing ‘Stockholm,’ Tribeca FF 2018, World Premiere Spotlight Narrative Film screening, (Carole Di Tosti)

 

When the minutes turn into hours with no resolution in sight, an incredible situation unfolds. Himself cornered by police and bank officials who refuse to give him the money he wants and other items for his escape,, Lars depends upon the support of teller Bianca Lind (the fine Noomi Rapace) and others. Lind becomes enthralled and even swept up and attracted to him. Lars negotiates a key point, in getting law enforcement to bring over Gunnar Sorensson (Mark Strong) a former friend whom Lars intends to free as a condition of releasing the hostages. To create conflict, Budreau portrays Gunnar as more menacing, though in real life, he was released and not charged possibly because he helped law enforcement catch “Lars” who was sentenced to ten years for this escapade.

Jan-erik Olsson, Ethan Hawke, Stockholm, Stockholm Syndrome, Tribeca FF 2018 World Premiere, Spotlight Narrative Film screening

Jan-erik Olsson responsible for the bank robbery in Stockholm, decades later. Ethan Hawke portrayed a fictional character based on the robbery events in ‘Stockholm.’ Tribeca FF 2018 World Premiere Spotlight Narrative Film screening (from the site)

With changes in name and characterizations, the film is primarily based on the true events which happened in 1973 in Stockholm, Sweden known as the Norrmalmstorg robbery. It was this robbery when Jan-Erik Olsson took hostages and their response to the situation originated the clinical symptoms known as “Stockholm Syndrome.” Specifically, the syndrome occurs when the alleged victims of a criminal predator identify with him, feel sorry for him and actually aid and abet his escape and/or commit criminal acts with him. Whether this is a survival mechanism response to fear is opaque. But the syndrome has been the subject of debate as other hostage crises have gained notoriety, For example in the sensational Patty Hearst case which occurred a year later than the Norrmalmstorg robbery, in 1974, Hearst was kidnapped by the wacked Symbionese Liberation Front who forced her to participate in a bank robbery which was filmed on camera. Hearst’s emotions became compromised to protect herself and mislead her captors. Nevertheless, her identification with criminals is not easily understood.

Budreau’s film gives rise to a number of psychological questions which he raises and attempts to answer. First, why does the attractive Bianca Lind go along with Lars and not resist him? Is it because he is not dangerous or because she is frozen in fear? Lind is the fictional character perhaps most similar to real life Kristin Enmark. Enmark in a conversation with officials said she believed the two hostage takers to be less dangerous than the police who were trigger happy. Likewise, in the film Lind cites the quote which Budreau included about the police being more likely to injure and kill the hostages in a fire fight, because civilian lives are less important than “getting the criminals” or preserving the banks funds.

Why does Lind passively go along with Lars to the point of assisting him? Surely, he is more hot air than serious killer as Hawke superbly portrays him to be. The longer the hostages and he remain together, the more they believe he has their interests at heart, while the bank is more interested in safeguarding their money. Interestingly, the manager and negotiators do not take “Lars” seriously. Only when the hostages help him with a plan and he pretends to injure Bianca is there some movement regarding giving him what he wants.

Robert Budreau, Ethan Hawke, Noomi Rapace, 2018 Tribeca FF World Premiere Spotlight Narrative screening Q & A

Director Robert Budreau, Noomi Rapace (2nd from left), cast, Ethan Hawke, far right at the 2018 Tribeca FF World Premiere Spotlight Narrative screening of ‘Stockholm, the Q and A (Carole Di Tosti

For her part Rapace’s Lind reveals a character who is more passive female than fiesty rebel. However, when we see her relate to her husband and family, Budreau offers up a tantalizing possibility. In the brief conversation she has with her husband, she appears steady and unemotional. Does she not want to upset him? Couldn’t she emotionally cry and manipulate her husband to more forcefully pressure the bank into settling with the bank robber? Instead, Budreau offers another look into a marriage and home life that may indeed be unsatisfactory and banal. Certainly, this interlude with the exciting and dangerous Lars stimulates another part of her seemingly untouched by her married life with the rather cold husband as portrayed by  Thorbjørn Harr.

Budreau’s take on the “Syndrome” in the titular film Stockholm is varied and reveals elements that we may not have considered before because we are unfamiliar with the fascinating events that coined the phrase “stockholm syndrome” based on the symbiotic relationship between predators and their hostages. The film engages primarily due to the pacing, the tight, authentic revamping of the events in a believable way, and the fine performances, especially the high-flying wildness of Hawke and his exchanges and counter-play with Lind.

 

 

 

 

 

 

 

 

 

directed and written by Robert Budreau. Produced by Nicholas Tabarrok, Robert Budreau, Jonathan Bronfman. (Canada, Sweden, USA) – World Premiere. In 1973, an unhinged American outlaw walked into a bank in Sweden demanding millions in cash in exchange for his hostages. The events that followed would capture the attention of the world and ultimately give a name to a new psychological phenomenon: Stockholm syndrome. With Ethan Hawke, Noomi Rapace, Mark Strong, Christopher Heyerdahl, Bea Santos, Thorbjorn Harr.

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