Talkin’ Broadway: Boots on the Ground

Originally published on Talkin’ Broadway.

Richard Donelly, Stephen Thorne, Joe Wilson, Jr., and Rachael Warren

When I first heard about the Trinity Rep’s Boots on the Ground, I thought to myself, “Dear Lord, do I really want to sit through a ‘docu-drama’ about the Iraq War … and its affect on Rhode Island?” Believe me when I say, no one is more surprised than I that the answer is an emphatic yes. For, while the new play by Laura Kepley and D. Salem Smith is based on over 200 hours of interviews with 70 different Rhode Islanders, the authors have wisely put the focus on the drama, creating a moving tapestry of individuals, families, and communities touched by a war half a world away.

The genius of Boots on the Ground is not that it presents real people in their own words; we’ve seen that plenty of times before. Rather, it focuses on the human element of the war, emphasizing relationships over politics, emotion over ideology. Kepley, pulling double-duty as director, has assembled a first-rate cast of five who collectively bring to life twenty-three fully realized characters. Despite only adjusting their costumes by slight tweaks between each character, there is never a moment of confusion or doubt about which character is on stage.

The cast is so note-perfect it’s hard to single any one out, but each performer blesses the audience with at least one particularly powerful moment: Richard Donelly, portraying the executive editor of the Providence Journal, Joel Rawson, reflecting on the difference between being a soldier in Viet Nam and being an embedded journalist in Iraq; Ann Scurria, as an anonymous soldier questioning whether the greeting the soldiers received upon crossing the Iraqi border was born of gratitude or fear; Stephen Thorne as a young National Guardsman, forced into the service for lack of a way to earn a living; Rachael Warren, a young wife torn longing for her husband but trying to keep her life together; and Joe Wilson, Jr, as her husband, a young commanding officer dealing with the loss of his best soldier.

This is all made so much more powerful by its local connection. The script perfectly preserves the cadence of Southern New England speech. The characters are our neighbors, our friends, ourselves. The deceptively simple costumes, built from a palette of khaki by William Lane, allow the actors to fully embody their characters in stance and speech without needing to “dress up” extensively. Beowulf Boritt’s sand and hardwood set, aided by adept lighting by Brian J. Lilienthal and sparingly used videos by Jamie McElhinney, suggests Providence living rooms and Iraqi dessert all at once.

The play either concludes with, or is followed by, an audience discussion facilitated by Pam Steager. The Trinity hasn’t quite made up its mind whether the discussion is in fact act two, as it’s billed in the program, or a “post-show” element, as it’s announced. Either way, it’s a fascinating and necessary part of the experience. As fascinating and moving as it was to watch the actors portray Rhode Island’s reaction to the war, it was doubly fascinating and moving to hear it from fellow audience members. Most surprising was how individuals in the audience experienced the play so differently from one another, and Steager skillfully allowed all voices to be heard.

Boots on the Ground, from its unique genesis to its unique production format, is a very special theatrical experience. And it’s one you won’t want to miss.

Boots on the Ground at the Trinity Repertory Company, 201 Washington Street, Providence, Rhode Island, now through May 21st. Tickets are $40 on weekdays, $50 on weekends. Discounts are available for educators, military, firefighters, police, students, and seniors. Rush tickets available two hours prior to showtime. For tickets, performance schedule, and information, call the box office at (401) 351-4242 or visit www.trinityrep.com

Photo: T. Charles Erickson

Talkin’ Broadway: Talley’s Folly

Originally published on Talkin’ Broadway.

Stephen Russell and Marianna Bassham

Is it possible to employ the word “folly” in the title of a play without making a pun? In the case of Lanford Wilson’s Talley’s Folly, the folly in question is both the foolishness of Sally Talley, who believes her “dark secret” has shut her out of the game of love, and in the slightly more archaic sense, the decaying, riverside gazebo erected by her ancestor that provides the setting for the play. But at least in director Adam Zahler’s production at the Lyric Stage, there’s another folly involved: the darkening of what should be, in the play’s own words, “a waltz.”

The play opens with Matt Friedman (Stephen Russell) addressing the audience directly, with the house lights up driving the point home. We are to see a love story, a dance, he tells us. Russell’s playful portrayal of Matt, teasing the audience and wielding the magic of stagecraft to create the perfect summer night, sets the perfect tone for a love story. As he leads us into the main section of the play, he’s significantly aided in this pursuit by Janie E. Howland’s picturesque set and John Cuff’s subtle, effective lights.

Matt has come to the Talley home in the summer of 1944 to pursue the hand of aging daughter Sally (Marianna Bassham). Their courtship has stalled, in part because Sally’s family will not accept Jewish Matt Friedman as a suitable mate, but in part because Sally is withholding a piece of herself from her beau.  Continue reading

Talkin’ Broadway: Brooklyn Boy

Originally published on Talkin’ Broadway.

Victor Warren and Ken Baltin

Victor Warren and Ken Baltin

We’ve all heard the platitude “you can never go home again,” but Donald Margulies isn’t listening. In his play Brooklyn Boy, now playing a limited engagement at the SpeakEasy Stage Company, Margulies counters this cliché both in his story and in his setting.

The plot follows newly successful author Eric Weiss as he takes a detour from his book tour to visit his ailing father in the Brooklyn hospital where he himself was born. The return to Brooklyn is also significant for playwright Margulies, whose early successes were all set in Brooklyn, a site he hasn’t written about since 1991’s Sight Unseen. But whether the return is significant to the audience is a somewhat more complicated question. Continue reading

Talkin’ Broadway: Promises, Promises

Originally published on Talkin’ Broadway.

Aimee Doherty and Jeff Mahoney

It seems contradictory to call a 37-year-old musical about adultery and attempted suicide a breath of fresh air, but the Animus Ensemble’s production of Promises, Promises is exactly that. The Burt Bacharach/Hal David/Neil Simon adaptation of The Apartment is rarely produced, perhaps because its distinctive sound is as dated as its outlook on women, relationships, and the workplace.

The story still has plenty of “ick” factor. The basic scenario: a young, would-be executive named C.C. Baxter (Jeff Mahoney) discovers the real trick to succeeding in business: loaning out the key to his apartment to his superiors at work, all looking for a place to take their mistresses. Mahoney comes across with a natural likeability, milking the comic potential of his character’s nebbishy tics to help distract from the sliminess of his actions. While his singing voice is a little thin for the score, he’s a terrific dancer and able to sell most of his numbers.

Baxter’s game comes crashing down when his boss, Sheldrake (Jerry Bisantz), uses Baxter’s apartment to sleep with Baxter’s crush (Aimee Doherty). Doherty sings beautifully and captures the sadness of her character, but her role is so underwritten that she simply isn’t given enough to work with. Bisantz, on the other hand, beautifully mines all sides of his character, almost making Sheldrake sympathetic, which only means his ultimate selfishness hits that much harder.

Just about every character in the show has questionable morals, which can make it a hard show to love. Thankfully, the actors and director John Ambrosino don’t shy away from the reality of these characters. That’s not to say this is a gritty Promises. The script frequently takes us from a dark moment to a hilarious comedy bit, and Ambrosino handles the transitions expertly. The show plays out against a Day-Glo set (designed by Peter Watson), with spot-on costumes by Courtney Dickson and Meghan O’Gorman. But the production’s aesthetic embraces the reality of the characters and the piece’s setting, relishing the look and feel of the late ’60s without letting the show get campy or ironic.

The entire show surges along with the syncopated pulse of Bacharach’s trademark rhythms, embodied perfectly through the choreography of Josie Bray. Her dances channel the best of Michael Bennett without once feeling like a retread. Every frug and swim feels appropriate and character driven, but mostly exciting and fun. Luckily, Bray is given much to do, from a fully choreographed overture to the show-stopping “Turkey Lurkey Time.” Unfortunately, the orchestra (under the baton of Brian D. Wagner) can’t quite keep pace with the demanding score.

Despite a few missteps along the way, the youthful enthusiasm of the show (right down to the most enthusiastic troop of ushers I’ve ever seen – in matching track suits, no less!) carries the evening. Promises, Promisesmay not leave you with deep questions to debate over post-show drinks, but it will send you off with a smile on your face and a catchy tune stuck in your head, and frankly, I can’t think of a better present for this holiday season.

Promises, Promises, presented by the Animus Ensemble at the Calderwood Pavilion at the Boston Center for the Arts, 527 Tremont Street in Boston’s South End, now through December 18. Performances are Wednesday and Thursday evenings at 7:30 pm; Friday and Saturday evenings at 8:00 pm; Saturday matinee at 4:00 pm; Sunday matinee at 2:00 pm. Tickets are $38.50, with student and senior discounts available. Tickets are available at the BCA box office, throughBostonTheatreScene.com, or by calling 617-933-8600.

The Animus Ensemble’s season continues with a workshop production ofAlice, a new musical by Phoebe Sinclear and Scott Murphy, March 17 and 18 at the Green Street Studios.
Photo: Jess Dugan

 

The Jewish Advocate: Behind the Spandex: Secrets of the Superheroes

Originally published in The Jewish Advocate. I feel compelled to mention that I was not responsible for the headline or subhead. 

It’s a bird … It’s a plane … No, it’s comic book writer A. David Lewis

BOSTON – When over 8,000 people gathered at the Bayside Expo Center at the start of the month for Boston’s first WizardWorld comics and pop-culture convention, there was the expected smattering of fans dressed like their favorite superheroes waiting in long lines to snag an autograph from the likes of Margot Kidder (Lois Lane in the “Superman” films) and Lou Ferrigno (TV’s ‘Incredible Hulk”). But tucked away in the back corner of the convention hall was a room devoted to a program called Wizard School, a series of classes offering aspiring writers and artists the chance to learn from industry professionals.

Most of the Wizard School classes centered on practical skills and technique. But Saturday night, the room was packed with fans for different kind of class. The session was entitled “Ever-Ending Battle: Superheroes and Mortality.” The brainchild of Allston resident A. David Lewis, the program brought together comic book pros to look at superheroes through the lens of thanatology, the study of death. Thanatology is still a relatively young area of inquiry, but two of its products have already permeated the culture: hospice care, and the stages of grief identified by Elizabeth Kubler-Ross.

Lewis is quick to note that “it’s not a bad thing to be concerned about death.” However, he came to the project through comics first. “Over the last few years, I was finding it curious that all these characters were getting killed and brought back. I don’t have any agenda other than discussing it.”

While his research is at an early stage, he has amassed the support not only of convention organizers, but also of the Popular Culture Association, comics journalists, and comics writers and artists. However, he is not new to the field of comics research, having taught classes on comics at Georgetown University and presented papers at conferences on topics such as “The Relationship Between Biblical Midrash and Comic Retcon.”

Although he’s an academic by day, currently teaching at Northeastern University, Lewis has a secret identity of his own as a comic book writer. “I can never decide if I like writing or writing about them better,” he said.

Lewis’s latest project looks at a different kind of superhero: Moses. His graphic novel “Lone and Level Sands” retells the biblical story of the Exodus from Egypt from the perspective of the Egyptians. “I had the idea a long time ago,” he said. “I went to Hebrew School [at Temple Beth Am in Framingham], had my bar mitzvah, but the first time I really gave it any thought was then the movie “Prince of Egypt” came out and I didn’t like it.”

The film’s account of Moses’s life didn’t mesh with Lewis’s memories of the Torah text, so he launched into a research project to find out what Egypt was really like during the time. “The challenge became how to make history and biblical myths live together.”

Lewis cites films about the Holocaust as well as modern American disasters as providing an important conceptual frameworks for him. “I didn’t want it to paint all Egyptians as evil,” he said. “I wanted to tell the full story, see their reaction to the plagues – not just being freaked out when frogs are falling. When everything is done, was there an emergency response plan to deal with the frogs on the ground?”

While Lewis deals with the details of the events, there’s one big detail he’s left up to the readers’ imaginations: “You certainly don’t see God [in the book]; there’s no guide with a beard, voice from the heaven, or hand pointing down,” he said.
He’s also left open to interpretation whether the Egyptian gods are present in the story. “A lot of characters are asking these questions,” he said. “I just never let them have an answer.”

The product is a 160-page story, illustrated by mpMann [yes, that’s how it’s spelled on the cover] that debuted in a black and white edition last April, published by the authors. It generated enough press and sales that Archadia Studios Press has picked it up for broad release. The publisher is now readying a full-color, hardcover edition for December.

“I would love for Hebrew Schools and Jewish groups to read and discuss this,” Lewis said. “But it’s not toeing the company line. It’s not evil Pharaoh and pious Moses. I would love to inspire dialogue.”

The Jewish Advocate: Spiegelman draws his comic view of world events for a local audience; Author of ‘Maus’ books brings ‘raw’ message to Peabody Essex Museum

Originally published in The Jewish Advocate.

SALEM – Art Spiegelman, the Pulitzer Prize-winning cartoonist best known for his Holocaust “Maus” books, drew a sold-out crowd to the Peabody Essex Museum Tuesday night as part of the museum’s month-long look at artistic responses to another horrific event in history, Sept. 11, 2001.

Spiegelman, 57, was born in Stockholm, Sweden, not long after the end of World War II, the child of Holocaust survivors Vladek and Anja. His parents dreamed of him becoming a dentist, but when he discovered Mad magazine, the course of his life changed. “I studied Mad the way some kids studied the Talmud,” he told Tuesday’s audience.

Continue reading

The Jewish Advocate: Adherents of Humanism putting down local roots; In sign of movement’s local growth, Boston to host biennial conference

Originally published in The Jewish Advocate.

NEWTON – Congregation for Humanistic Judaism in Newton, known as Kahal B’raira, celebrates its 30th anniversary this year. Its name means “Community of Choice,” which also happens to sum up the core philosophy of Humanistic Judaism, which adherents describe as “nontheistic” Judaism. In the absence of a supernatural authority commanding people how to be Jewish, Humanistic Jews rely on the choices of human beings and focus on pursuing the ethical choices in their lives.

Kahal B’raira does not yet have a rabbi, although recently the congregation took its first steps at professionalizing its operation by creating three part-time positions. And while its administrator, Sunday School principal, and youth director are surely working hard, a glimpse around the room at the dozens of volunteers at the congregation’s open house last Sunday proved that the communal spirit in which the group was founded runs strong.

“They’re one of our oldest affiliates,” said Rabbi Miriam Jerris, Community Development Coordinator for the Society for Humanistic Judaism, the national organization linking Humanistic Jewish congregations, communities and havurot in the United States. “KB came out of the ’60s and relies very strongly on volunteerism and consensus decision making. They have a huge spirit.”  Continue reading

The Jewish Advocate: Old B&B record striking a chord with young Jews

Originally published in The Jewish Advocate.

Bagels and BongosA record cut more than 40 years ago in Boston is at the center of a new nonprofit organization’s efforts to grab the attention of young Jewish adults. “Bagels and Bongos” was a hit for the Irving Fields Trio in 1959; now, a group of community-minded individuals are hoping “Bagels and Bongos” will strike a chord with unaffiliated Jews in their 20s and 30s.

The folks behind the record launch are Reboot Stereophonics, a division of Reboot, a nonprofit described by Jules Shell, one of its founders, as “starting an open space for conversation … about identity, about who we are.”

Fields is still active at age 90, playing six nights a week at Nino’s Tuscany in midtown Manhattan. Last week, he spoke with The Jewish Advocate by phone to reminisce about the Boston roots of “Bagels and Bongos.”  Continue reading

The Jewish Advocate: Wiesel, fascinated with Jewish tales, still spinning them

Originally published in The Jewish Advocate.

BOSTON – For 31 years, Elie Wiesel has been sharing his “Fascination with Jewish Tales” with increasingly large audiences of his long-running lecture series by the same name. Next week, Wiesel kicks off Boston University’s annual three-lecture series with a talk entitled “Why Pray?”; it will be held at Metcalf Hall on the university’s Commonwealth Avenue campus.

“I love tales, I always have,” Wiesel told the Advocate in a telephone interview Monday. He credits the centrality of storytelling in his life to his early upbringing in the Hasidic world of Eastern Europe. “Hasidism is not only tales, but it’s also tales. No other religious movement concentrates so much on storytelling and tales as the Hasidic movement,” he said.

His love of storytelling is apparent even in a phone conersation, which continually veered onto tangents as new anecdotes sprang to Wiesel’s mind. Whether adding color to facts or imparting advice to a young reporter, Wiesel cannot help himself when a story comes to mind.

Continue reading

The Jewish Advocate: Synagogue educators press effort to better their schools

Originally published in The Jewish Advocate.

NEWTON – More than 65 synagogue school educators gathered at Temple Shalom in Newton last week to hone their skills. The teachers were participating in training by educators from the Union for Reform Judaism as part of expanding efforts on the part of both the Reform and Conservative movements to improve congregational religious schools.

Each movement has chosen a different path for bettering its schools. The United Synagogue for Conservative Judaism established an accreditation program four years ago called Framework for Excellence. The program offers schools a choice of six different models and then works with each community to mold its program to fit a model.

“Nobody’s going to get kicked out of United Synagogue if they don’t adhere to it, but we wanted to create standards,” said Wendy Light, USCJ’s national education consultant for the Framework for Excellence. “Schools that meet the standards are known as exceptional schools. My goal is that everybody meets those standards.”

While there are variations in each of the six Framework models for schools, ranging from the number of days each week the school meets to the balance of classroom learning with family education and informal education, there are certain benchmarks shared by all models.

For a school to become certified, the education director and lay committee must go through a process Light describes as introspective to determine what elements of the school might need work. “In some situations it means adding hours or days to the program,” Light said. “In others it’s writing a complete curriculum where none existed before.”

Curriculum is the major focus of URJ’s Chai Initiative, a project launched by URJ’s Department of Lifelong Jewish Learning in 2001. “The goal is to move from an activity-based school experience to a concept-based one,” said Joanne Doades, URJ’s assistant director for curriculum development and the national coordinator of the Chai Initiative.

“We looked outside the Jewish educational system to find a curriculum methodology called Understanding by Design,” Doades said in a phone interview last month. “It guides curriculum planners through a process of starting with the end in mind. In other words, what are the things you really want students to know and carry with them long after they’ve left the classroom?”

The curriculum is structured around the famous saying from Pirkei Avot (the mishnaic “Sayings of the Fathers”) that says “The world stands on three things: Torah (law), Avodah (religious service), and G’milut Chasadim (“acts of kindness”).”

“I’m inspired by its theme, which I consider a major rubric of Judaism,” said Deena Bloomstone, education director of Shir Tikva in Wayland. “We’re a very social justice-oriented congregation and believe that every aspect of it speaks to social justice, even the Torah core, which teaches thematically about leadership and responsibility through pieces of Torah that we wouldn’t necessarily look towards in a religious school.”

URJ simultaneously introduced a Hebrew program called Mitkadem Hebrew Language for Youth, a student-centered approach to language that allows each student to work at his or her own pace.

Doades reports that so far nearly 300 schools have purchased the Chai curriculum, “which for us is extremely positive, given that we have about 800 schools,” she said. However, she said that URJ currently does not keep track of which schools actually employ the curriculum, or how much of it they use. “It’s designed to be flexible.” she said. “You don’t have to adopt the whole thing.”

Framework for Excellence recently welcomed its 85th school, Temple Beth Emunah in Brockton. Light said: “There are about 610 Conservative religious schools affiliated throughout the United States. Over 380 are working towards framework.”

Despite the differences in approaches, one element unites both movements’ efforts: the devotion of professional resources to the development of schools. In addition to URJ’s staff of educators, the Chai curriculum draws on the expertise of the Association for Supervision and Curriculum Development and JESNA, the Jewish Education Service of North America.

Perhaps more importantly, URJ has committed itself to training synagogue teachers in utilizing the curriculum, offering workshops through their network of regional educators, such as the one at Temple Shalom last week, as well as online courses for teachers.

USCJ similarly emphasizes a personal connection between the school and the movement. “We’ll make suggestions, we’ll send them programs, anything they really need to help them become better,” said Light. “Sometimes we’ll meet with their education committees, their rabbis, whomever we need to meet with to make it easier for them to come on board.”