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Scouting Report

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Over the years I’ve written up quite a few players we’ve seen play at Roger Dean Stadium Class A+ ball, the home of the Jupiter Hammerheads (Marlins affiliate) and the Palm Beach Cardinals (Cardinals affiliate). I’ve watched many “graduate” the most notables being Giancarlo Stanton (who played under the name of Mike Stanton when I saw him play for the Hammerheads in 2009) and Christian Yelich (who reminded me of Jacoby Ellsbury).  But I like to concentrate my “scouting” on the pitchers, my position way back as a kid when I dreamt of major league glory.  I’ve watched Jarlin García, Justin Nicolino and Andrew Heaney make their way to the big leagues (Heaney is expected to miss the entire 2017 season as he recovers from Tommy John surgery).  I’ve written up others who are still seasoning in the minors but at a higher level.

I normally concentrate on the “home team” candidates but last Wednesday I wanted to focus on the Lakeland Tigers’ Beau Burrows.  He was the Tigers’ first draft pick right out of high school in 2015 and he is leading the Florida State league with a 1.23 ERA, a WHIP under 1, and more than a strikeout per inning.  He will probably be the starting pitcher in the league’s All Star game later this month. 
 
So it was with much anticipation seeing him pitch against the Palm Beach Cardinals’ Derian Gonzalez.  Ironically, it was Gonzalez who outpitched Burrows, throwing seven scoreless innings and the Cardinals winning the game 2-0.  Nonetheless, Burrows impressed. He’s powerfully built, 6-2” and 200 lbs.  He reminded me a little of another pitcher who came out of Texas, Roger Clemens.  Burrows allowed 1 earned run on 5 hits and 6 strikeouts in his 7 innings pitched.  He has all the stuff, including a fast ball approaching 100 mph and complements that with good breaking pitches.  What he didn’t have the other night was pinpoint control, too many well hit balls as a consequence, luckily, for him, usually right at someone.  It was not his finest outing, but he is a work in progress as it should be for a 20 year old.  If he doesn’t get hurt, look for him in the “show” in a year or two.  It was wonderful to see him work at this stage, up close -- the great advantage of seeing ball at the minor league level.







Let the Games Begin

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The “games” -- meaning the Congressional Hearings regarding the Russian influence on our election results and the possible “cooperation” of Trump and/or his legion of surrogates.

James Comey laid out his case in great documented detail.  Is there enough there to “prove” a case of impeding an investigation by a sitting U.S. President, or even impeachment.  No.  Not, yet at least.

And Trump’s reaction was predictable, cherry picking what he liked such as the three times Comey said he was not personally under investigation (he wouldn’t be – yet), then claiming other statements were “a lie,” such as demanding “loyalty” of Comey.

Trump also said he is “100%” committed to testifying under oath (watch out what you wish for).

It was a one on one conversation, so it boils down to who do you believe, the meticulous note taker Comey, or the off-the cuff reactions of President Trump?  Yet, they both may be telling “the truth.”  How can that be? 

At the risk of sounding like an armchair psychologist, simply put perhaps Trump believes his own lies, has created his own reality, and really does not believe he said or meant those aspects of Comey’s testimony.  Therefore, he can in good conscience testify to that effect. 100%.

As Eric Hoffer, author of The True Believer said, “We lie the loudest when we lie to ourselves.

Perhaps future candidates for President should be required to undergo physical AND psychological testing?  Aren’t we entitled to choose between the healthiest candidates for such an important office?


And from another site (there are many), “certain personality traits where pathological lying may occur include” (does any of this strike a chord?):

    Narcissism or self-centered behaviors and thought patterns
    Selfishness
    Abusive attitude
    Obsessive, controlling, and compulsive behaviors
    Impulsivity
    Aggressiveness
    Jealous behavior
    Manipulative behaviors
    Deceptiveness
    Socially awkward, uncomfortable, or isolated
    Low self-esteem
    Tempermentalness
    Anger


Almost a month ago I wrote to our two Senators (Marco Rubio and Bill Nelson) and our Representative (Brian Mast).  This was before Robert Mueller was appointed by the Justice Department as special counsel but right after James Comey was dismissed as FBI Director by Trump.  I ultimately received responses from Nelson and Mast, those were after Mueller was appointed and thus their responses were understandably focused on that appointment.

Rubio on the other hand provided an automated response that a reply would be forthcoming and such a reply never did.  I find this interesting as Rubio’s questioning of Comey was definitely Trump predisposed.  Rubio seems to be committed to appealing to the base that got him elected.  This country has devolved into Newton's third law of physics, that for every action there is an equal and opposite reaction.  Just flip back and forth between MSNBC and FOX and you can experience the polarity.

Here is our letter first and then the responses.

May 13, 2017
Dear (insert name of Senator or Representative):

My wife and I, both retired, are distraught and anxiety ridden over the behavior of President Trump.  I can think of only two times we’ve felt so concerned:  during the Cuban missile crisis and during the end of the Nixon administration.  Luckily, a stable, resolute President Kennedy prevailed during the former crisis and our democracy and separation of powers worked to ensure the preservation of the Republic during the latter.

Where are the courageous Senators to insist on a special prosecutor (now that the FBI has been kneecapped) to investigate the extent of any possible collusion of the Trump election team with Russian operatives?  Where are the courageous Senators to insist on a complete examination of Trump’s financial dealings in light of the emolument clause of the Constitution or to consider whether his removal is justified by the 25th Amendment to the Constitution based on mental illness?

Perhaps you feel the same existential dilemma we do: how does one, as a citizen of a country he/she loves, support its new leader, given his unstable, even despotic behavior, one who relies on nepotistic advice? 

The concept of separation of powers and the role of the 4th estate are being severely tested and we look to the Senate as the last bastion of defense.  Will you and your colleagues rise to the occasion or are you going to allow this person to run amuck and jeopardize everything our founding fathers stood for?  His behavior is an affront to the dignity of the Office of the Presidency, weakening our country instead of protecting it, something he pledged to do when he was sworn into office.

We will be carefully watching your actions and depending on you to do the morally right thing to protect our country.

Respectfully,

Replies:

        Senator Marco Rubio
        May 13 at 11:54 AM

Thank you for taking the time to contact me. Your correspondence has been received and I welcome the opportunity to address your concerns. Hearing directly from constituents such as yourself is truly an honor, and your input is much appreciated.

Please look for my response in the near future. In an effort to serve you better, please do not duplicate e-mails into the web-form, as it may serve to delay the response to your concerns. If you need immediate assistance with a federal agency, please call (866) 630-7106, toll-free in Florida.


Sincerely,

U.S. Senator Marco Rubio

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May 22 at 6:40 PM
Dear Mr. Hagelstein,

Thank you for contacting me in support of appointing a special prosecutor to investigate Russian interference in our elections and potential ties to the Trump administration. Your thoughts are important to me as I work to effectively represent you in Congress.

You deserve transparency and accountability in government. We should never run or hide from the truth. If we seek out truth and embrace it then Americans can know we all play by the same set of rules.

As you may know, in addition to ongoing investigations in the U.S. Senate and U.S. House of Representatives, Deputy Attorney General Rod Rosenstein has appointed former F.B.I. Director Robert S. Mueller III as special counsel for the Russia investigation. Like you, I hope that Director Mueller can be looked at as unbiased and that his finding will be respected by all. The American people deserve answers, and I am committed to ensuring a transparent process as these investigations move forward.   

Thank you again for taking the time to contact me.  If you’d like to receive updates about this issue and other news that’s important to our community, please sign up here.  To follow along with my work on your behalf, please join me on Facebook, Twitter, Instagram   and YouTube.  If you have any additional questions, please do not hesitate to contact me again.  As always it is an honor to represent you in the United States Congress.

Sincerely,

Brian Mast
Member of Congress

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May 30, 2017
Dear Mr. and Mrs. Hagelstein:

 Thank you for contacting me about ongoing investigations related to the Russian government’s efforts to interfere in the 2016 Presidential election.

In March, I called for the appointment of a special prosecutor and/or the establishment of an independent commission to get to the bottom of Russia’s interference.

After the President fired FBI Director Comey on May 9, I repeated my calls for a special prosecutor and/or an independent commission. Shortly thereafter, the Department of Justice named former FBI Director Bob Mueller Special Counsel to oversee the Russia investigation. Bob Mueller has the experience to conduct a thorough investigation. Now, he must be provided the resources and independent authority he needs to follow the facts wherever they lead.

The Senate Select Committee on Intelligence has pledged to continue its bipartisan investigation into Russian attempts to influence our election. In addition, I am cosponsoring S. 27, which would create an independent commission to investigate Russia’s attempts to interfere with the 2016 Presidential election.

According to the U.S. intelligence community, Russia is responsible for a number of hacks and the subsequent leaking of stolen information related to the 2016 Presidential election, at Putin's direct order. The attempt by an outside power to influence the election and promote a particular candidate is a very serious threat to our constitutional form of government.

On December 29, 2016, President Obama imposed sanctions on Russia in response to these hacks. I am cosponsoring S. 341, the Russia Sanctions Review Act of 2017, a bill that would keep sanctions imposed on Russia for election hacking and other aggression in place until Congress says otherwise.

As a senior member of the Senate Armed Services Committee (SASC) and Ranking Member of the SASC Subcommittee on Cybersecurity, I will continue to support policies that enhance our capability to deter and defend against cyber attacks from all enemies.

Now isn’t the time to cozy up to Russia, now is the time to stand up to Russian aggression.  I appreciate hearing your thoughts on this issue.

Sincerely, Bill Nelson

Flag Day Despoiled

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I was going to write a piece about Flag Day with photos.

Now, the depressing news about the shooting at a baseball practice field of Republican members of the congressional baseball team leads to other thoughts.  Thankfully no one was killed other than the gunman.  Good riddance to him. And thankfully the brave Capitol Police were there to take him down.

But will this be a time that we pull together long after the incident?  Or will it just pull us further apart?

I’ve heard comments such as Representative Mo Brooks’  “It’s not easy to take when you see people around you being shot and you don’t have a weapon yourself.”  According to initial reports the deranged gunman had a military assault style weapon.  One can understand the helplessness and the impotence felt by Rep. Brooks.  It is an outrage that we cannot even enjoy our national pastime without feeling threatened this way.  And it is an outrage that political divisiveness should lead to any kind of violence.

But unless we all pull together the subsequent dialogue can go two divergent ways.  One could lead us down the path of greater authoritarianism and the call for arming more citizens (although a greater police presence is going to be necessary when many of our Representatives are in public venues).  The other path could call for the long-needed ban of military grade weapons.  Are we all supposed to be armed  with AR-15s on our baseball fields?  I’m no Pollyanna and know that such a ban would have little impact on what happens in the near future.  I’m thinking long term.  This is not about challenging the 2ndAmendment, and it is not about Republican vs. Democrat.  It’s about common sense banning military weapons, doing comprehensive background checks, expanding our treatment of mental illness, and developing better early warning signs of mentally disturbed people from social networks and prior arrests.

I worry about how this horrible incident will move the country in the future.  Will we come together, E pluribus unum, or be driven apart, politicizing this horror?  I look to the flag and wonder and hope.



I Love My Wife

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Cy Coleman’s I Love My Wife is the title song from his 1977 musical about wife swapping – a very popular “sport” in those days, the same year NYC’s Plato's Retreat opened for swingers.  After the fantasying by the husbands in the show, they come to the conclusion that they have the best in their own wives.  Thus this song.  If it were not for Frank Sinatra perhaps the song would be as forgotten as the musical but, thankfully, Sinatra saw the genius of this beautiful ballad, the repeated musical phrases resulting in such a haunting melody.  He recorded it as a single using a Nelson Riddle chart. The lyrics, by Michael Stewart, latch onto those musical phrases (these of course are not the entire lyrics):

But just in case, you didn't know
I love my wife

and later in the song….

But just in case, you hadn't heard
I love my wife

and later again…

But just in case, you couldn't guess
I love my wife

and the concluding

But just in case, you couldn't guess
Or hadn't heard
Or didn't know
I love my wife
I love my wife
I love my wife

mmm….
I love my wife

My piano rendering of this wonderful melody is dedicated to my wife of nearly 50 years, Ann.


Sondheim Side by Side with Cecil and Mays

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My favorite bass player, David Einhorn, knowing my love of Sondheim, gifted me Our Time, Tommy Cecil and Bill Mays’ incredible jazz interpretation of Sondheim’s work.  As it is indicated as “Volume 2” I was able to find their first CD of Sondheim’s music, appropriately called Side by Side.  I don’t think I’ve ever written a “plug” for anything in this space, but I make an exception for these two CDs. (Amazon carries both.)

Tommy Cecil and Bill Mays

They take the beautiful and frequently complex music of Sondheim to another level (although some of the pieces Sondheim was only the lyricist), probably the most unique jazz pieces I’ve ever heard.  It is an equal partnership between a gifted bassist and pianist.  We’ve seen Bill Mays at the Colony on Palm Beach, intended to go back this year, but learned that the Colony had cancelled his brunch gigs on Sunday, probably due to financial considerations.  He is perhaps one of the best jazz pianists at work today.

No drummer is necessary for this pair. In fact a drummer would interfere with their accomplishment, a unique collaboration of two gifted musicians, their voicing and rhythm just perfect.

Before these two CDs I had collected a series of Sondheim jazz albums by the Terry Trotter Trio, the only such authorized renditions by the great man himself, Stephen Sondheim.  I listen to them frequently but now I’m fixated on the innovative work of Cecil and Mays. Here are the tracks from the two CDs:

Side By Side(Sondheim Duos)

1 Something's Coming 7:09
2 Not While I'm Around 6:25
3 Broadway Baby 8:00
4 Every Day a Little Death 6:10
5 Ballad of Sweeney Todd 4:50
6 Small World 6:52
7 Side By Side By Side 5:27
8 Anyone Can Whistle 6:28
9 Comedy Tonight 7:06


Our Time (Sondheim Duos 2)

1 Everybody Says Don't  5:33
2 Johanna 3:44
3 Our Time5:59  
4 Moments in the Woods 6:09
5 Finishing the Hat 4:48
6 The Miller's Son 5:55  
7 Losing My Mind 4:19
8 The Best Thing That Has Ever Happened 5:44
9 Agony 6:05
10 Being Alive 5:44
11 Rich and Happy 6:08

Too Late Now

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We think of Lerner and Lowe as a team, but lyricist Alan Jay Lerner worked with other composers such as Burton Lane on the film Royal Wedding in 1951.  It includes this gem of a song, a memorable contribution to the Great American Songbook, touching lyrics by Lerner and a suitable Burton Lane melancholic melody.  Supposedly, they wrote it over the telephone. 

Although it’s been recorded by many, it’s Judy Garland’s sad rendition I think of as the song was written for her but she dropped out before Royal Wedding was filmed and was replaced by Jane Powell.  This YouTube recording was from her TV show, performed some dozen years later.  It takes on a genuine sadness given the back-story.

Too Late Now
Too late now to forget your smile
The way we cling when we danced awhile
Too late now to forget and go on with someone new

Too late now to forget your voice
The way one word makes my heart rejoice
Too late now to imagine myself away from you

All the things we've dreamed together
I relive when we're apart
All the tender words together
Live on in my heart

How could I ever close the door
And be the same as I was before?
Darling, no, no I can't anymore
It's too late now

My rendition in the “recording studio” of my living room has its technical drawbacks, but I tried to capture the pure simplicity of this wonderful melody.


The Regency Era invades Boca with Sense and Sensibility

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Calling all Janeites!  Calling all Janeites!  Mr. Henry Dashwood has died, leaving his home to John, son from his first marriage, and John’s scheming wife, Fanny, who has convinced her husband to banish his father’s second wife and her three daughters from their home, relegating them to Barton Cottage in Devonshire.  The shock of it all!  A mere cottage!  And the three young women, two of marriageable age, Elinor and Marianne, have no attachments and the bereft Dashwood women have but a very small inherited income.  If you are an inveterate Jane Austen enthusiast, you of course recognize this as the beginning of Sense and Sensibility, her first novel published in 1811.  It is a whirlwind novel of scandal, gossip, attachments made and attachments broken, the manners and mores of Regency England, and of course love.

Here is a wonderful adaptation written by Kate Hamill for the stage which opened last night, and a high energy production by FAU’s Department of Theatre and Dance.  Ultimately, the affections of the steadfast Edward Ferrars, and the stalwart Colonel Brandon win over the sensible Elinor and the mercurial Marianne, respectively, but before that much anticipated denouement, we are treated to a dizzying array of plot complications and impediments to love conquering all.

The cast made up mostly of MFA Graduate Students and two equity actors are all equally professional.  If this is the future of South Florida Theater, it will flourish.  It is a large cast including several members of “gossip groups,” sort of a Greek Chorus which brings the audience into the temper of the times.  Hilariously, they also function as dogs and horses in the play, just adding more action to what is already a lot of moving parts on stage as the minimalist scenery is on wheels and the cast is constantly moving them into new places. Comedic elements emerge throughout the production

Although it is impossible to comment on each and every performer (complete cast list below), they are all very convincing, but a special call out to Jessica Eaton who plays Fanny, her malice giving no grounds, and Traven Call who captures the essence of dog, horse, and finally the foppish brother of Edward, Robert Ferris.  Amanda Corbett plays Elinor and Gabriela Tortoledo is Marianne, both performing flawlessly in these two demanding major roles.  

What makes this production so enjoyable is the period Regency costumes (Dawn Shamburger), the music of the times (Sound Design by Rich Szczublewski), the fast moving choreography (kudos to Jean-Louis Baldet the Director and Suzanne Clement Jones, Stage Manager), and, again, a cast thoroughly committed to their craft.  Technical and Lighting Design is by Thomas M. Shorrock, and K. April Soroko is Scenic Designer.  A special mention goes to the Dialect Coach Jenna Wyatt -- getting that right is half the battle in such a production.

If there is one minor quibble (not to me personally, but it might be to some) it is the length, more than 2-1 / 2 hours including intermission.  Of course a familiarity with the novel would be helpful.  If you haven’t read it, there is always Wikipedia.  But after you’ve seen it, maybe you will want to read it as well as all of Jane Austen and become a Janeite like my wife Ann! 

CAST

Elinor Dashwood...................................Amanda Corbett+
Marianne Dashwood.............................Gabriela Iortoledo+
Margaret Dashwood..............................Abby Nigro
Mrs. Dashwood.....................................Kathryn Lee Johnston*
John Dashwood/Dr. Harris/Gossip E...Gray West+
Edward Ferrars......................................Sean Patrick Gibbons+
Fanny (Ferrars) Dashwood....................Jessica Eaton+
Colonel Brandon....................................Stephen Kaiser+
John Willoughby....................................Zak Westfall+
Sir John Middleton................................Barry Tarallo*
Mrs. Jennings.........................................Rachel Finley+
Lucy Steele/Gossip C.............................Laura M. Goetz
Anne Steele/Gossip D............................Savannah Marino
Robert Ferrars/Gossip E........................Trayven Call+
Gossip A.................................................Tara Collandra
Gossip B.................................................Erin Williams+

*Member of the Actors’ Equity Association (AEA)
+ M.F.A. Graduate Student

Amanda Corbett, Sean Patrick Gibbons and Gabriela Tortoledo  -Photo by Zak Westfall

Sense and Sensibility has Friday – Sunday performances 7 p.m. June 23 through July 22 with 2 p.m. matinees on Saturday and Sunday as well at Studio One Theatre, Florida Atlantic University, 777 Glades Road, Boca Raton.



News of the World

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Funny how what we sometimes read is based on serendipity rather than carefully thought out choices.  After all, reading time is precious, especially with multifaceted activities whirling around in the modern world, all calling for our attention or participation.  It’s one of the reasons I welcome the summer and returning to our boat in Connecticut for a long stay.  No pressing commitments, no piano, and although there is work to be done on the boat, incomparable to “running” the house.  Also, our dock is out of range of Wifi so even our Internet activity has to be cut back, television too as satellite is unreliable on a cloudy windy day.  I welcome the change.

So I’ve been happily arranging my reading, lining up all the novels I hope to finish.  Most are so-called “serious” ones, no sense listing them here.  In fact, I had already started one, when our good friend, Nina, sent us an email with the subject “beautiful writing,” starting out her message “.... It was March 5 and cold, his breath fumed and his old muffler was dank with the steam. Above and behind them the Dipper turned on its great handle as if to pour night itself out onto the dreaming continent and each of its seven stars gleamed from between the fitful passing clouds.....” This is a passage from the book I’m reading and loving): News of the World by Paulette Jiles.  It’s a story of a printer turned newsreader in the 1870's and what happens to him.

So I sagely replied, Yes, Beautiful.  Sounds like the kind of book one of us can knock off quickly.  But I have so many on my reading take-off pad that I can't promise to get to it immediately, and if it's a library book, or promised to someone else, I'd feel guilty taking it.  

It was a library book but my wife Ann agreed to read it, which she did in a few days, enthusiastically endorsing it as well and insisting I would love it too.  Meanwhile I was reading one of my “serious” novels and laboring.  I declared (to myself), even if it’s serious it should be a joy to read so I decided to put it down (very unlike me) and give myself over to a novel which had all the earmarks of a great story, News of the World, and as there were still a few days left before the library return date, felt confident that I could knock off the 200 some odd pages.

How happy I am that I made that decision.

Jiles’ novel reminded me a little of Philipp Meyer’s, The Son, (although his is a novel written on a much grander scale), in that one of the main characters was captured by Indians and raised by them, while their parents were killed, all of this taking place in the post civil war territory of Texas.  Each makes its points about man’s inhumanity to man and survival being a paramount issue.  However The Son is a sledgehammer of a novel while News of the World is delicate and uplifting.

Here’s another comparative observation to other novels I’ve read, and this might seem to be strange, yet there is an interesting connection.  Jiles dispenses with the use of quotation marks so the author’s narrative and the characters’ dialogue is not readily distinguishable.  This technique, while off putting at first, works very well as you get used to it and I find that it makes great story telling even more energizing.   

Two such novels, reviewed in this blog which also use that technique are Dave Eggers’ Hologram for a King and Louis Begley’s About Schmidt.  And as with Jiles’ novel, both are fast reads, hard to put down.  I find them almost reading like screenplays, easily adaptable to that medium.  The novels I mentioned were made into films.  News of the World would be a perfect film as well I thought.  Therefore I googled the title and “film” and found that Tom Hanks had just signed up for a movie version! 

Perfect casting as “The Captain” and ideally suited to Hanks’ sensibilities and temperament.  He’s a little young for the part, the main character being closer to my age (nearing mid-70s than Hanks at 60), but just perfect otherwise.  Ironically he starred in the movie version of Hologram for a King so maybe he has a penchant for story narratives and dialogue without quotation marks as well!

The Son also made its way to film, a recent 10 part TV miniseries.  Great stories about the West and the real back story of the unimaginable cruelties and hardships have power.

I found News of the World a metaphor for today’s developing dystopian world.  There was extreme political dissention in Texas during post Civil War years.  Edmund Davis, considered a radical, was elected governor against Andrew Jackson Hamilton, a Unionist Democrat.  Davis supported the rights of freed slaves and wanted Texas to be divided into a number of Republican-controlled states.  This leitmotif works in the background of the novel and the political polarity resembles today.  You were either pro Davis or anti-Davis.

It was also a time of great fear, Mexicans being hunted and murdered, Indian wars continuing, and marauding bands of outlaws, lawlessness and violence, not exactly an excellent time for a 70 plus year old man to take a newly freed Indian captive on a 400 mile journey south through Texas.

Captain Jefferson Kyle Kidd is no ordinary man of the times, though.  He’s been through two wars, including the war of 1812 but that experience is secondary to his nature.  He’s a good man, trustworthy, honorable, and as an ex-printer he is interested in and makes his living from “the news of the world.”  These attributes put him in a situation where he is inveigled to return a captive of the Kiowa tribe, a 10 year old white girl, captured when she was six, to her aunt and uncle some four hundred grueling and dangerous miles from Wichita Falls northwest of Dallas to Castroville, southwest of San Antonio.

He’s also not ordinary as he embraces information (a modern man!), believing that “If people had true knowledge of the world perhaps they would not take up arms and so perhaps he could be an aggregator of information from distant places and the world would be a more peaceful place.”

So the story begins when Britt Johnson, a free black man, asks Captain Kidd to deliver the child, who was left to him by a government agent, back to her family.  After all she’s a white girl and if Johnson attempts the three plus week journey, there could be consequences.  “You take her and the fifty dollar gold piece I was given to deliver her.  Hard to find somebody to trust with this.” Thus the Captain was given the responsibility of delivering Johanna Leonberger under contract with a government agent (Johnson gives him papers to that effect) and as Kidd himself says:  “I am a man of my word.”

He was a runner during the war of 1812.  “He had good lungs and knew the country…covering ground at a long trot was meat and drink to him….Nothing pleased him more than to travel free and unencumbered, along, with a message in his hand, carrying information from one unit to another, unconcerned with its content, independent of what was written or ordered therein…A lifting, running joy.  He felt like a thin banner streaming, printed with some real insignia with messages of great import entrusted to his care…He always recalled those two years with a kind of wonder.  As when one is granted the life and the task for which one was meant.  No matter how odd, no matter how out of the ordinary.  When it came to an end he was not surprised.  It was too good, too perfect to last.”

And since the Civil War he has been an itinerant news provider, going from town to town reading news articles at assemblages of people in the town for 10 cents apiece.  But now he had to combine his living with the solemn oath of delivering the child safely,”in his mild and mindless way still roaming, still reading out the news of the world in the hope that it would do some good, but in the end he must carry a weapon in his belt and he had a child to protect and no printed story or tale would alter that.”

When he first sees Johanna he says “The child seems artificial as well as malign.”

She says (inaudible to them):  “My name is Cicada.  My father’s name is Turning Water.  My mother’s name is Three Spotted.  I want to go home.”  She doesn’t speak these words though as “the Kiowa words in all their tonal music lived in her head like bees.”

Thus, the journey begins and here in the best interest of spoiler alerts, I’m deserting plot and delving into some of Jiles’ sparse writing and some of the themes that emerge.

The Captain is not only a man of honor, but a person of great sensitivity.  In spite of the travails of trying to transport her, and the frustrations of trying to teach her some of the ways of the white world which she had entirely forgotten, his inherent humanity prevails:  “He was suddenly almost overwhelmed with pity for her.  Torn from her parents, adopted by a strange culture, given new parents, then sold for a few blankets and some old silverware, now sent to stranger after stranger, crushed into peculiar clothing, surrounded by people of an unknown language and unknown culture, only ten years old, and now she could not even eat her food without have to use outlandish instruments….Her sufferings were beyond description.”

“He worried all up and down every street and with every tack he drove in.  Worried about the very long journey ahead, about his ability to keep the girl from harm.  He thought, resentfully, I raised my girls, I already did that.  At the age he had attained with his life span short before him he had begun to look upon the human world with the indifference of a condemned man.”  Oh do I identify with the last sentence of this quote!

He is a man who lives in the real world and his flight with Johanna brings these thoughts to the surface, “more than ever knowing in his fragile bones that it was the duty of men who aspired to the condition of humanity to protect children and kill for them….Human aggression and depravity still managed to astonish him….Some people were born unsupplied with a human conscience and those people needed killing.”

Yet, as he turns 72 on the road, and is fending off threats to follow through on his promise and in the process gradually bonding with Johanna, he is “beyond belief “at his age, still traveling, alive, and thus “unaccountably happy.” 

“Maybe life is just carrying news.  Surviving to carry the news.  Maybe we have just one message, and it is delivered to us when we are born and we are never sure what it says; it may have nothing to do with us personally but it must be carried by hand through a life, all the way, and at the end handed over, sealed.”


I’ve quoted liberally in this overview, but it’s one of the advantages I can bring to a blog vs.the usual “review.”  Such reviews can easily be found elsewhere.  But I like to focus on the writing, and this is a beautiful novel and I was glad to put down my other reading to enjoy News of the World.  I’ll look forward to Tom Hanks’ interpretation of it, an actor I admire.  He will make a great Captain Kidd.
 








I Could Have Told You

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One of the great joys of music is meeting different musicians and then hearing them play or sing pieces I’m not familiar with.  Wikipedia says The Great American Songbook, also known as 'American Standards', is the canon of the most important and influential American popular songs and jazz standards from the early 20th century.  That’s enormous territory and although I’ve been playing songs from that genre for more than fifty years, I still come across new ones (to me).  Most are fun to play and some are very moving.  Such is the case with the song “I Could Have Told You” The haunting melody was written by the great James Van Heusen, a friend of Sinatra’s, and the melancholic lyrics were penned by the prolific lyricist Carl Sigman. 

The  recording became a Frank Sinatra “signature song.” The Nelson Riddle arrangement was recorded as a single on December 9, 1953 just days after Sinatra reportedly attempted suicide over his broken marriage to Ava Gardner.  No wonder it is so mournful and heartfelt and supposedly he never performed it in his endless appearances on stage. Obviously, the song conjured painful memories. It later appeared on his 1959 compilation album Look to Your Heart and another one that same year, made up of mostly sorrowful songs, No One Cares.   

It was also recorded by Bob Dylan (surprisingly to me) so if one likes his voice and style you can also find it on YouTube.  It can’t compare to Sinatra’s smooth tonality and phrasing. 

Although I probably heard the song in my years of listening to Sinatra, I didn’t have the sheet music or take note of it.  I was “introduced” to it by a singer we came across in our many visits to the Double Roads Tavern in Jupiter.  The Jupiter Jazz Society headed up by Rich and Cherie Moore has a Jazz Jam there on Sunday nights.  Rich is a very talented pianist and can play almost any style. We’re supporters of the Society and try not to miss a performance.  We learned about the Society and Double Roads from our good friend (and my bass accompanist from time to time) David Einhorn who occasionally plays there.   So one connection leads to another in the small music world and there we saw a performance by an upcoming interpreter of the Great American Songbook, Lisa Remick.

A prediction: we’ll hear a lot more from her in the future.  She’s a perfectionist, the kind of singer we really appreciate, trying to go to the heart of a song, and singing it while conveying the emotional foundation of the lyrics and the melody.  Such is her interpretation of “I Could Have Told You” on her CD, Close Enough for Love.   

Thus, I was captivated by that song on her CD. I found a lead sheet for the piano and after playing it over and over again for myself, decided to record it and upload it to YouTube trying to allow the melody to speak for itself, with my usual disclaimer that it was recorded under less than ideal conditions in my living room and using a digital camera.  I played it just one time through and one can follow the lyrics which are below. It’s a gem of a song.

 
I could have told you
She'd hurt you
She'd love you a while
Then desert you
If only you'd asked
I could have told you so
I could have saved you
Some crying
Yes, I could have told you she's lying
But you were in love
And didn't want to know
I hear her now
As I toss and turn and try to sleep
I hear her now
Making promises she'll never keep
And soon, it's over and done with
She'll find someone new to have fun with
Through all of my tears
I could have told you so

Baseball and Boating

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As American as apple pie.  But for us the beginning of the summer concludes our Florida “season.”   We’ll get to a few more Class A+ minor league games but as part of the summer is scheduled for traveling, our boat is best stored on land during the hurricane season.  Thus, early yesterday morning I made my annual solitary trip leaving the North Palm Beach Waterway and the PGA bridge behind, 

and emerging into Lake Worth to run down to Riviera Beach where I was met at a boat ramp by Mariner Marine, the dealer for the Grady White.  After getting the boat up on the trailer and climbing down, it is but a short ride to the dealer and there I arranged for the annual servicing as well, saying farewell to our center console, ‘Reprise,’ but knowing when I pick her up in the fall, that it will have been serviced and detailed, looking beautiful for more time on the water.  And at my age I now must add, health willing of course.


The night before we saw another minor league game, this time the Bradenton Marauders (Pittsburgh Pirates affiliate) facing off against our Palm Beach Cardinals at Roger Dean Stadium.  We decided to sit behind home plate so I could get a better view of the pitching: two fine pitchers were at work.   

First there was a fellow lefty, Cam Vieaux, who was drafted in the 6thround only last year and is carrying a 1.42 ERA since joining Bradenton.  Vieaux is clearly a control pitcher with a fast ball only in the low 90s which he mixes with a change-up and a curve to keep batters honest.  But if batters guess fast ball correctly, he is hittable, and as a result gave up 11 hits in 7 innings.  Andy Young found that key in the 6th inning with a home run, tying the score 2-2.  Still, Vieaux gave up only 2 earned runs while recording only 2 strike outs.  He is a crafty lefty and as he perfects his style, he has future potential.

On the other hand, the Palm Beach Cardinals right hander. Ryan Helsley, is a classic power pitcher, his fast ball in the high 90s. The Cards lifted a large number of foul balls as batters got under the ball or not able to get around on those fast balls.  He was drafted in the 5th round by the St. Louis Cardinals out of Northeastern State and has averaged more than one strikeout per inning in the minors with a career 2.20 ERA.  As with many young pitchers, location is the issue and he needs to get to the point of recording outs with his other pitches.  He went six innings with seven strikeouts, also giving up two earned runs.  He’ll learn and when he does, he’ll move up.

As it turned out, the game stayed at 2-2 and went until the early morning hours, the Palm Beach Cardinals finally scoring the winning run in the 14th inning, a walk off infield single by Leobaldo Pina.  By that time, we were long-long gone, the pitching and seeing good ball playing more interesting to me than the outcome of the game.

I’ve said it many times before – Class A+ ball in the Florida State League is normally every bit as professional as a major league game, and several of the players we’ve seen over the years have graduated to the majors.

All in all it was a beautiful night for baseball at Roger Dean Stadium and an equally fine morning to run the boat one last time this season.
 



A Stirring Production of Sondheim’s Sweeney Todd at Dramaworks

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When one of the finest regional theatres presents the preeminent work of the greatest living Broadway lyricist and composer (arguably the best ever), we can expect to experience a performance work of art that will be long remembered.  Such is Dramaworks’ production of Stephen Sondheim’s Sweeney Todd.It packs such an emotional wallop that the stunned audience left exiting, “wow,” after a standing ovation.

Even though Sweeney Todd flopped on Broadway and the West End when it first opened in 1979 -- critics and the public were not prepared for the bizarre subject matter and Sondheim’s treatment of it in a musical -- the show has become one of his most frequently performed on all levels ranging from expurgated school productions to full-scale professional theatres.  As Sondheim himself commented, if you give an audience a good story, especially an extravagant one, they’ll accept it with pleasure, no matter how bizarre, and idiosyncratic it might be.

Although the plot is fairly well known, a brief summary might be helpful.  The story itself, which can be traced in various English publications going back to the mid 19thcentury, is based on “The Demon Barber of Fleet Street.”  Sondheim saw a retelling of the tale in a 1973 play by Christopher Bond in London and it immediately struck him as material for a musical horror story.

In Sondheim’s version, Sweeney Todd, AKA as the barber Benjamin Barker, has been ruined by Judge Turpin who coveted his wife, Lucy and stole her away by banishing Barker to Botany Bay for life.  But Barker, now under the cloak of a new name, Sweeney Todd, eventually returns to London with the help of Anthony Hope, a young, good natured sailor he befriends.  Todd has one overwhelming yearning aside from escape: retribution.

He sets up a barbershop over Mrs. Lovett’s pie shop -- known for making the worst pies in London.  She is aware of Todd’s past and tells him that his wife, Lucy, had taken poison and their daughter, Johanna, was adopted by the Judge, becoming his ward.  His quest for retribution is intensified.  Little does he know that Mrs. Lovett has her own designs on him, hoping they will ultimately become lovers and has twisted the truth to her own advantage.

Todd challenges Adolfo Pirelli who claims to be "the king of the barbers, the barber of kings" to a contest to inveigle the Judge into his shop. Ultimately, Pirelli becomes the first of Todd’s victims and ingredient in one of Mrs. Lovett’s new, much celebrated ”meat pies.”

Judge Turpin’s attention to Johanna turns from regarding her as his ward to wanting her for his wife.  Anthony, the young sailor, has developed an intense love interest in Johanna as well.  Meanwhile, Mrs. Lovett and Todd are grinding people from all walks of life as their pie enterprise flourishes.

These story lines converge with the death of many of the major characters, sparing the young lovers, Anthony and Johanna, and Tobias Ragg, Pirelli’s assistant who is devoted to Mrs. Lovett.

That’s as brief as I can make it, but this musical is, oh, so much more.  It is genius every step of the way demonstrating Sondheim’s cardinal rules: Content Dictates Form; Less Is More; God is in the Details – all in the service of – Clarity.  

Shane R. Tanner and Company in Sweeney Todd Photo by Cliff Burgess

The very opening line of the show’s first number “The Ballard of Sweeney Todd” is “Attend the tale of Sweeney Todd.”  Simple enough?  Here’s Sondheim’s take:  If ever there was an example of "God is in the details," it's the line that opens this show: "Attend the tale of Sweeney Todd." Detail 1: the use of "attend" to mean "listen to" is just archaic enough to tell the audience that this will be a period piece. Detail 2: the idea of a "tale" suggests that the audience not take the story realistically but as a fable, and opens them up to accept the bizarrerie of the events which follow; it also promises a story that will unfold like a folk ballad, foreshadowing the numerous choruses of the song that will pop up during the course of the evening. Detail 3: the alliteration on the first, second and fourth accented beats of "Attend the tale of Sweeney Todd" is not only a microcosm of the AABA form of the song itself, but in its very formality gives the line a sinister feeling, especially with the sepulchral accompaniment that rumbles underneath it.

Sondheim is the consummate artist, approaching every lyric, every note in this gorgeous “black operetta” with the same level of thought and detail.  Interestingly, Sondheim’s antipathy for opera led him to construct it mainly as song forms, something between a musical and a ballad opera.  His love of background music in film, and he has scored several, became infused in the music.  Lyrics were a challenge and he decided to invent some colloquialisms to go along with British ones he knew. 

There are a number of chorus numbers, their role ranging from serving as a Greek Chorus and as provocateurs moving the action along.  Sondheim rejects the notion that all people in a chorus will be singing the same thought in harmony.  Thus, chorus and duet numbers in the work can have different overlapping lyrics but all in perfect sync with the music (although, alas, and this does not distract from the overall achievement, not every single word can be heard or assimilated).  

Dramaworks’ interpretation relies on the deft hand of the Director, Clive Cholerton, and the equally important musical director Manny Schvartzman, making his PBD debut.  Cholerton directed the enormously successful 1776, last year’s musical offering from Dramaworks but by his own admission, Sweeney Todd is his favorite show.  Thus, he found it a bit daunting to finally have the opportunity to direct it.  Some previous versions had Sweeney as a crazed mass murderer at the onset, but his vision was to have Sweeney arrive bitter and angry from prison, but not a murderer out of the gate. 

His take came more clearly into view working with the costume designer, Brian O’Keefe, whose idea was to make a strong costume statement -- a “steam punk” look, almost science fiction, a post apocalyptic world (although still strongly grounded in 19th century England).  O’Keefe is also reaching to younger audiences with this gothic but futuristic feel to it -- or perhaps even a contemporary spin given the current political zeitgeist.  The costumes are simply astonishing, from Mrs. Lovett’s seductive lacy top with the tightly strung corset to Johanna’s virginal gowns and nightdresses to Beadle Bamford’s sinister black boots, menacing cudgel and flowing overcoats.

Schvartzman successfully works with the inherent complexity of Sondheim’s music, blending the cast seamlessly with the score and wringing out every drop of color and emotion Sondheim has poured into the work.  He is also the talented pianist and conductor of the show, along with an orchestra of five, including himself.  He clearly achieves his objective of providing the same support as a larger orchestra, hitting every note Sondheim intended.

Shane Tanner returns to the Dramaworks’ musical stage, having last appeared in 1776, this time in the title role of Sweeney.  Tanner is well known for a wide range of musicals, including Sondheim’s Into the Woods,ALittle Night Music, and Assassins.   He makes a critical transition when he crosses the line from merely plotting one person’s murder to becoming a mass murderer with ghoulish composure.  Beware of the razor in his hand.  It is the ultimate equalizer of classes.  Tanner’s performance starts with despair and lack of hope, gradually escalating to rage and the audience feels that steady spiral to its core.  He is a Sweeney to be remembered.

Ruthie Stephens in Sweeney Todd Photo by Cliff Burgess

Ruthie Stephens as Mrs. Lovett twists everything in her lust for Todd.  We root in many ways for Lovett and Sweeney as they grind up aristocrats along with everyone else, “Those crunching noises pervading the air?.....It’s man devouring man, my dear.”  Stephens focus is on Mrs. Lovett’s role as an opportunist and as Stephens is from the UK, she expertly capitalizes on the very Brit humor of the part.  Her clarion voice and performance were stunning and when she is on the stage, your eyes never leave her.

The lovely Johanna is central to all the major characters in the work, the Judge lustily desiring her, Lovett wanting her out of the way, Todd trying to protect her, Anthony loving her.  This key soprano role is played by Jennifer Molly Bell.  She is as radiant as her namesake song in the show, “Johanna.”   Bell effectively communicates what it feels like to be a bird trapped in a cage, longing for escape.

Michael McKenzie and Shane R. Tanner in Sweeney Todd Photo by Cliff Burgess

Michael McKenzie, as Judge Turpin, makes a strong case for the Judge being “misunderstood” yet unable to tame his emotions – although by banishing Todd to seduce his wife and claim his child makes him decidedly villainous.  His scene of self-flagellation singing a new verse of Johannaas he voyeuristically peers at his ward is unforgettable.  By the time he finally succumbs under Todd’s razor (the first such attempt going amiss), the audience is as ripe for revenge as Todd.

The good-natured, madly-in-love with Johanna, Anthony Hope, is performed by Paul Louis Lessard (PBD debut) whose tenor voice soars in his numbers.  When Lessard first sings “Johanna” he demonstrates that Sondheim can write a genuinely beautiful love song.  The song is sung in several iterations in the show.  It was one of Sondheim’s favorite’s --   writing songs like these not only appeals to my instinct for intricate plotting, it makes me feel like a playwright, even if the plays are only six or seven minutes long. Lessard captures Anthony’s sensitivity and determination to have his lovebird.

My own favorite songs from the show, aside from “Joanna,” are “Pretty Women” sung by Todd and the Judge when the Judge is first in the barber’s chair, and the ghoulishly hilarious “A Little Priest,” sung by Mrs. Lovett and Todd which brings the curtain down on the first act.  I might also add “Not While I’m Around,” a beautiful ballad sung by Evan Jones who plays Tobias Ragg (PBD debut) and then is joined by Mrs. Lovett.  It’s an unusual number as it mixes both warmth (Tobias’ take) and evil (Mrs. Lovett’s plotting as she sings).

PBD veteran of many shows, Jim Ballard plays Beadle Bamford, Judge Turpin’s thug and partner in crime.  Ballard’s portrayal is the personification of evil and brutality and that characterization combined with his strong voice left an indelible impression.

Rounding out the cast are Alex Mansoori as Pirelli (PBD debut), Shelley Keelor as the Beggar Woman / Lucy, and the rest of the ensemble, Terry Hardcastle, Christopher Holloway (PBD debut), Hannah Richter (PBD debut), and Victoria Lauzun (PBD debut).  All have fine, powerful, operetta quality voices which enhance this production.


Michael Amico’s scenic design captures the drab factory-like industrial conceit with the worn paneling and the large overhead windows, for letting in light or the color red, symbolizing blood at the appropriate times.  It functions perfectly for the action and atmosphere.

Lighting design is by Donald Edmund Thomas. There are some 380 lighting changes (with as many as 8-10 in a minute), dividing the stage into 22 lighting sections so lights can follow the action.  The lighting has an appropriately grungy feel to it with shadows streaming across the stage.

Sound design is by Brad Pawlak who puts the focus on the music itself as well as a well -timed screeching whistle at emotional peaks.

This PBD production of Sondheim’s masterpiece haunts, staged by a team of professionals worthy of Broadway.  It is a powerful, stunning performance, not to be missed.

Sondheim’s comments are from Stephen Sondheim: Finishing the Hat; Collected Lyrics (1954-1981) with Attendant Comments, Principles, Heresies, Grudges, Whines and Anecdotes (Alfred A. Knopf, New York, 2010)

We’ll Take Manhattan

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We recently returned from a week in NYC, a whirlwind revisit of our old stomping grounds, cramming in too much for a single blog entry.  Thus, this one focuses on the five Broadway shows we saw while there.  I could write detailed reviews of each, but Broadway is well reviewed and doesn’t need my help.  So this is a brief coverage of the shows we booked many months before the Tony Awards and even before three of them actually opened.   In other words, we took a chance on those – although we knew something about them in advance.  Call this write up an impressionistic review.

Before getting into the shows themselves, I must confess we were not fully prepared for the theatre district in the summer, although we’re both ex-New Yorkers and should know better.  The week before we left, every long term weather forecast had promised a week of ideal conditions, temperatures in the mid 80’s, moderate humidity.  Ah, we said in confidence as we packed to catch a Jet Blue flight to LaGuardia, lucky us.  But that following week morphed from idyllic into a scorching heat wave, one day reaching the mid 90s with high humidity.  And we left “cool” Florida for this? 

As anyone who has lived in the city knows, if the air temperature is in the mid 90’s, the buildings and the macadam, the traffic, and the hordes of people, just magnifies the heat.  We were staying at 54th between Broadway and 8thAvenue and thought we’d be able to walk or Uber wherever we needed between the hotel, the shows, and restaurants.  More unrealistic thinking.  Traffic was at a standstill most of the time.  The only way to get to your destination was to walk.  Subways were impossible too.  And we walked mostly on 8th Avenue, frequently in the street as the sidewalks were so congested.  Because of the heat, the sidewalk vendors, the mobs of tourists and trash all over the place, the stench sometimes was insufferable.  But as ex New Yorkers we beat on to our destinations.

I’ll start with the least appealing show, although it was very entertaining, War Paint.  We bought tickets way before it opened and had front row seats and were showered by the spit of Patti LuPone and Christine Ebersole, whose presence alone was worth the price of admission.  When their contracts are up, War Paint will recede into Broadway history.  The music was agreeable but not memorable.  However, the costumes were fantastic as well as the scenic design by David Korins who designed Hamilton and two other shows running on Broadway now, Dear Evan Hansen, and Bandstand.  We were disappointed that there was little dance, unusual for a big Broadway show.  Personally, I also found the subject frivolous.  Do I care about cosmetics, although I get the point that these were two women battling in a man’s world.  Nonetheless it was a privilege to see two divas at work.

Dear Evan Hansen lived up to its hype, Ben Platt a unique performer who can sing beautifully while crying at the same time.  In fact, the audience was crammed with Ben Platt groupies.  A young lady sitting in front of us (her friend sitting two rows behind us so we were privileged to be in on some of their conversation before the show and during the intermission), was seeing the show for the 6th time, seats to this particular performance being a present from her mother on this, her 21st birthday.  She was at the end of her seat whenever Platt was on stage and singing, which is most of the time. The music moved the plot along and some beautiful songs, “Waving Through a Window,” sung by Evan and Company, “So Big/So Small” sung by Evan’s mother Heidi (Rachel Bay Jones) to name just two.  Both Jones and Platt won Tonys for their performances.  Steven Levenson wrote the book and the Music and Lyrics were by Benj Pasek and Justin Paul (who is from our old home town, Westport, CT). 

As moving as the show was, it’s the first time Ann and I felt that this was a show for another generation (didn’t feel that way when we saw Lin-Manuel Miranda’s pre-Hamiltonshow, In the Heights in London which is hip hop multiculturalism). It’s not that we didn’t feel moved but the reality of how millennial families connect or are torn apart by social media is a major theme.  We understand but it’s not our world.

The Great Comet of 1812 was spectacular.  The Imperial Theatre was gutted for the staging, some of the audience sitting at tables, the action taking place all around.  Josh Grobin had just left the show.  Okierite Onaodowan who we saw in Hamilton is his replacement.  He did a credible job but I think Grobin’s voice might have worked better in the role.  But that is not to detract from the overall impression of the show, great music, phenomenal choreography – constant movement, and the kind of show only Broadway could put on in that form.  It leaves an indelible impression, in the same way Hamilton and Les Mis does.    

So much has been written about Josh Grobin that one would think his role playing Pierre was the primary one in the show.  It is not – it is more of a fulcrum.  The two dominant characters revolving around him are Natasha played by Denée Benton in her Broadway debut, who was nominated for a Tony, and Lucas Steele who plays the dashing womanizer, Anatole.  It is a large cast, with many outstanding performances. 

The music is infectious, rock at times, lyrical at other times (usually with a Cossack aspect), with an interesting back story as to how Dave Malloy who wrote the book, the music, and the lyrics came to envision the show: “I first read War and Peace while working on a cruise ship, playing piano in the show band, as a way for my landlocked girlfriend and I to stay connected. I remember being so enthralled by the scope of Tolstoy’s vision; the book was a trashy romance novel, a family drama, a hilarious farce, a military thriller, a philosophical scripture, a treatise on history, all wrapped into one giant, messy, nearly unmanageable tome. And then there was that section. Volume 2, Book 5. I think I read the whole 70-page slice in one sitting, staying up til 5 a.m. with the delirious obsession I usually reserved for Stephen King or Harry Potter. Up to this point, Natasha had been so mirthful and pure that her downfall seemed to come screaming out of nowhere . . . and then Pierre, his sudden righteous action, his heart finally alive, his simple kindness, the comet . . . it all happened so quickly. At the end of it, as I read the last words “into a new life” with tears streaming down my face, I had the weirdest and clearest epiphany: that this was the perfect story for a musical.”  His epiphany is our delight.

Groundhog Daywas enjoyable, surprisingly faithful to the movie.  Very clever set designs and the infectiously likeable and talented Andy Karl who performed in spite of a torn ACL made the show. Great dancing too and the music was more than incidental.  I just didn’t see how that film could be turned into a musical, but it worked wonderfully.  Groundhog Day will become a traveling show one day.  Don’t miss it if you can’t get to NYC!

One disappointment was not being able see an equal number of dramas as well, but we took a chance on one of The Roundabout’s new plays which they developed with the Long Wharf in CT: Napoli, Brooklyn.  Long after we got tix it opened and the NYT had a so-so review.  It deserved a much better one.  Rarely have we seen characters so sharply drawn, memorable, except in some of the classic American plays.

 It is set in Brooklyn in 1960.  I was living there then and there is a horrific incident that takes place at the time (no further detail to avoid a spoiler).  It becomes a catalyst.  The play is about Italian immigrants, a man who arrives as a stowaway with his wife, and how they try to make a life in Brooklyn.  He’s a manual laborer and his wife bears him three daughters.  That’s strike one in the family, the father frustrated he has no sons.  His disappointment with life in the New World and his family is clear: “If we stayed in Italy we would have had a son.” 

He’s not an O’Neill alcoholic father, but he is a workaholic and expects the same from his family.  He demands absolute obedience and is baffled by the way things devolved in his life. This leads to the conflict and the resolution.  The mother is trying to please everyone, her husband in particular, with her food and peacemaking efforts, the older daughter has sacrificed her youth for the benefit of the family, the middle daughter has to retreat to a Catholic convent after being attacked by the father, while the youngest, 16 years old, is trying to stowaway to Paris with another girl, daughter of an Irish immigrant, with whom she’s in love.  There is much more to the play than that -- it was riveting, a feminist spin on American family drama , written by Meghan Kennedy.  Remember that name.  Fantastic acting.

In addition to the 5 plays we caught our favorite jazz pianist at Dizzy’s Club Coca Cola, Monty Alexander (and his “Junkanoo Swing”), who takes swinging jazz and combines it with the rhythms of Jamaica.  His original composition, Hope reminded me of Oscar Peterson’s Canadian Suite, jazz compositions which have classical underpinnings, not improvisational jazz.  It was an ideal setting on the 5thFloor of the Time Warner building at 60th St, overlooking Columbus Circle, nearby our first apartment.  The view is as breathtaking as the music.

All in all, it was a magical week of theatre in Manhattan.  Hopefully, next year we can do it again!
 

 

NY, NY, It’s a Wonderful Town

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The Bronx may be up and the Battery down, but for us our week in New York City, other than theater (see previous entry) was about seeing family, friends, and a nostalgic stroll (walk /Uber / cab / subway) down memory lane.  I was born in NYC (actually Queens which any true New Yorker would dismiss as Manhattan to them is THE City).  I lived in Richmond Hill until my teenage years, although began working in Manhattan as a 14 year old for my father’s photography business during the summers, and continued to work there through high school and early college years.  Married in my senior year in college, I became a Brooklynite, living first in downtown Brooklyn and then Park Slope.  I wrote about my nostalgic return to Brooklyn last year.

After my divorce in the late 60s, I moved to West 85thStreet, my first official residence in Manhattan (although when separated from my first wife, I lived with a friend in his East Village apartment).  After Ann and I were married, I moved into her one bedroom apartment on West 63rd Street.

Since I started with geography, I’m taking our trip out of order, continuing the geographic tour.  The last day before we left (Friday) it was forecast to be another 95 degree day – think it was the fourth in a row over 90.  Ann said she’d rather stay and rest that day and get started on the preliminary packing for our return flight the next morning, so I had a sudden urge to make the most of that morning, before the temperature soared, by walking our old West side neighborhoods.  After all, as an ex-New Yorker I had confidence that I could recapture that pace – the one that perfectly syncs with the changing traffic lights as one walks north or south (doesn’t work for cross town), so at about 10 AM I set off from 54th and 7thAvenue to my ultimate destination:  my old West side apartment, a third floor walk up at 66 West 85thStreet. 

My improvised plan was to first go up Central Park West to the apartment which Ann moved into in the early 60’s, the one I moved into when we got married in 1970.  And so I set off.

I crossed Columbus Circle and went up Central Park West and made a left on 63rd and there behind a lot of scaffolding was our first apartment at 33 West 63rd St.  Then I went over to Columbus and then began another 20 plus walk up to 85th Street.  The change in nearly 50 years was remarkable, so gentrified, with boutique shops, markets, restaurants.  I went into a Duane Reade to buy a bottle of water and to use their restroom.  But I forgot: NYC is not hospitable to providing restrooms so I walked further to a local boutique coffee shop and bought a bottle of Perrier and there was a restroom.  Tragedy averted. 

Decided to take a brief rest there and watch the world go by.  Outside I saw a young woman handing out leaflets, talking to people, trying to get them to sign an electronic petition, so after having my drink, I emerged and talked to her.  She was urging people to sign onto an effort to curb an environmental issue in the neighborhood.  I explained that I was from Florida and the last time I lived here, only a block away now, was nearly a half a century ago.  I might as well have been from Mars, but she still urged me to sign as there was also a national dimension.  So I did, and we briefly chatted about the now beautiful west side and the long term threats to the environment given Washington’s current leadership.

So, I walked on, saw the entrance to my old apartment on West 85th St. and looked down the street towards Central Park West, so inviting now.  Sigh, if we could only live in this area again.

But I was only half way through my journey as I wanted to walk down Amsterdam now which had also changed dramatically.   At 79th and I turned east as I wanted to see another apartment Ann lived in before moving to 63rdStreet.  She shared an apartment with another woman at 172 West 79th.  It is still there, a stately prewar building.  And actually, when Ann first moved to the city in 1959, her first apartment was a furnished room in a beautifully restored old brownstone at 39 West 69th (which I did not visit), but she has fond memories of living there and watching some scenes from the movie The Apartment being filmed on the street at the time.

I turned south back onto Columbus.  Opposite Lincoln Center (Ann watched it being built just across the street from where she lived) is a restaurant, P.J. Clarke's, to which we used to go almost a half century ago when it was called “O’Neill’s Balloon”.  Strange name for a restaurant, yes?  Well, it was originally “O’Neill’s Saloon” and the story goes that NYC at the time prohibited using “Saloon” so they just changed the “S” to a “B” and squeezed in an additional “l”.  A NYC expedient solution, indeed.

Also, 63rd Street at Lincoln Center has a secondary name, “George Balanchine Way” and there is a back story concerning this.  Most of our Connecticut years were on Ridge Road in Weston.  It was there that the great ballerina, Tanaquil Le Clercq lived, the ex wife of Balanchine. He built a wheelchair ramp for her at that home as she was tragically stricken with polio in 1956.  He finally left her for his last wife but she was always considered his muse.  We never saw her while living there.  Most homes were much hidden from the road.

Ann and I took another nostalgic walking tour earlier in the week.  We wanted to see the old building where we both worked and where we first met at 111 5th Avenue.  I have even deeper roots in that general lower Fifth avenue area, so I’ll describe our visit in the order of our trip that day.   

First stop was 100 5thAvenue.  My father’s photography business, Hagelstein Brothers, occupied the very top floor of the building for about 60 years (my grandfather before him) and from about 1936 to 1980 he commuted there from Richmond Hill, Queens,with his brother, my Uncle Phil, (except for the War years).  From about 1956, when I was only 14, to when I was 20, I worked there each summer, riding to work in the back of their small van, sitting among the props, from our home, to Woodhaven Blvd., to the Long Island Expressway and then through the Queens Midtown tunnel, down Park Avenue, to 100 5th Avenue. 

My first job was as a delivery boy, delivering proofs to customers all over New York, usually by subway, so I got to know the city fairly well, almost as if I lived in Manhattan rather than Queens.  That entire lower 5th Avenue has a special place in my reflective psyche.

So there it was, the same entrance I had gone in and out of a thousand times, the building looking the same, but, as everything else in the area, gentrified, boutique shops replacing the old coffee shops and industrial equipment stores.  From there we walked down to 14th Street toward Union Square.  When I was first married we (ex-wife) lived in Brooklyn and the subway stop left me off at Union Square.  It was there that I was the only New Yorker who has ever received a J-walking ticket.  I was crossing with a mob of people but the cop signaled me over.  I remember writing a letter to the Mayor at the time, John Lindsey, as it was the principle of the matter, not the violation.  I’m still patiently waiting for a reply.:-)

In any case, Union Square is now a lush park, and I wanted to find a Union Square diner which I clearly remember going to on several occasions in the mid 1960’s.  It was the go-to place if a large group of us were going out from the office.  I usually had a very inexpensive hero sandwich with Jim Mafchir who was a close friend and colleague.  He actually showed me the ropes of publishing production work and when I first separated from my wife, lived with him briefly in his East Village apartment.  About ten years ago we reconnected with him in Sante Fe, NM.

One of those luncheons at the coffee shop included a gal I didn’t know well, Ann, who would become my wife years later.  So, for the purposes of this visit, I wanted to see what boutique shop might have replaced it.  To our shock, the old Chase Coffee shop on Union Square is still there.  Changed ownership 28 years ago, and the layout is different, but it is still a traditional NYC coffee shop so naturally, that is where we had to have lunch and retread footsteps from another lifetime, when we hardly knew one another.  In this selfie, you can see “Coffee Shop” over my left shoulder.


From there we forged on to 111 5th Avenue where I worked from 1964 to 1969 and Ann worked from 1965 to 1971.  Funny how we went in and out of those elevators so many times, and never fully appreciated the fine workmanship of them and the lobby.  We finally did on this, our final visit.


Then, we went north on 5th Avenue and we looked for a restaurant we used to go to after work on the west side of the street.  Gone.  Up to 23rd Street.  Jim and I used to go to some of the bars on that street and have an Irish lunch.  They’re pretty much gone.  The Flatiron building of course still stands majestically at the intersection of 5th and Broadway.

Another building I had to see was the Met Life in front of Madison Square Park as I had two connections with that building.  My grandfather (on my mother’s side) worked there and later in my publishing career, we rented space there for Praeger Publishers which we had bought from CBS, so I used to visit regularly.  Every time I entered the building I had to sign in and get a pass which I used to just sometimes stick on the inside of my brief case.  Even though that was more than 20 years ago, I not only still use that briefcase, but the passes still remain.  Why I haven’t removed them, I have no idea. Maybe it was for this moment.

Finally, one more destination in this area, and that was 28 West 23rd Street, a building I used to regularly visit to attend board meetings of our then parent company, Williamhouse Regency from 1970 to 1976.  Therefore, you might say, much of my working career is tethered to that area.

 From there, we had intended to Uber up 6th Avenue to our hotel but as all of lower to even upper Manhattan, traffic was at a standstill and it was beastly hot by then too, we took the easy way, the 6th Avenue Subway, and thus back in a flash.  “The people ride in a hole in the ground. New York, New York, it's a wonderful town!”

Earlier in the week we had a date to lunch with Ann’s niece Regina and her two children, nearly adults, Forrest, and Serena.  We had agreed to meet at the Grill in the Standard Hotel right near the southern entrance to the High Line and there we had lunch, their menu very creative, the waiter fun, and the ambiance, trendy, reflective of its roots in the meatpacking district.

After catching up with the activities of the now grownup “kids” and a relaxing lunch, we all walked the entire length of the High Line from Gansevoort Street to West 34th Street. The High Line was built on an elevated freight line that was supposed to be demolished.  Instead, it has become an example of how such industrial space can become an integral part of a beautiful city, affording views, cultural art, and community spirit.  It brings back a little of old New York, combining it with the sensibilities of modern times, with its street art and architecture of new buildings.

Although some very good and old favorite NYC restaurants were another go to feature of our trip, I’ll only mention one, and that is the legendary Le Bernardin.  We’ve been there before, not often of course, but we made it a point to go to this very exceptional restaurant and there we celebrated being together with Jonathan and Tracie.


Speaking of whom, we also spent the day with them, the Sunday after we arrived, we taking the New Haven railroad to South Norwalk where they picked us up and we went immediately to our boat where they had a lunch waiting for us.  It seemed odd to be there as a one-day visitor, but we’ll be back later in the summer to stay there. 

Naturally, while there we had to get out on the water, that day perhaps being the best day of the week, taking our little runabout to visit friends on their boats.  Finally back to our ‘Swept Away’ to read the New York Times and then Jonathan and Tracy prepared a feast for dinner, king crab legs and sous vide T-bone steak and, unexpectedly, a neighboring boat had just returned from a fishing tournament so there was fresh mahi mahi to grill as well.  That night they returned us to NYC as they both had to drive back for work.

We were going to go to the lower east side on Thursday but it was supposed to be in the mid 90s with high humidity and being outside would probably kill us so we "settled" for a day at MOMA before the theatre that night.

I ended up taking about 100 photographs and I managed to cover all five floors and we had a lovely lunch in their restaurant.

Instead of posting everything, I’m including a few that felt very personal to me, especially in this chaotic political era.  So many of the MOMA’s collection presents other similar times, ones that we’ve lived through, such as in the wake of the Edward Snowden leaked NSA documents, one can appreciate the following:

Simon Denny’s “Modded Server-Rack Display with Some Interpretations of David Darchicourt Designs for NSA Defense Intelligence.”

 Or Kara Walker’s “40 Acres of Mules” where  “characters play out repulsive dramas of racial and gender bigotry
”.

There was an entire exhibit “Why Pictures Now” devoted to the iconoclastic Louise Lawler.  When asked to submit a picture of herself for a 1990 issue of Artscribe magazine, she submitted one of Meryl Streep, “acknowledging MOMA’s role in presenting artists as celebrities.”

Robert Rauschenberg’s work really captures the zeitgeist of not only the turbulent 60s, but also anticipates the unrest of today.  

 His “Signs” (1970) warns about the “Danger lies in forgetting." Indeed, 1960's political foment reminds one of today's world.  

His “Stop Side Early Winter Glut” (1987) is an environmental warning and a warning of spiritual ruination.  “It’s a time of glut.  Green is rampant…I simply want to present people with their ruins.”

As an ex New Yorker I viscerally responded to his “Estate” (1963)

Mobs of people were photographing Vincent van Gogh’s “The Starry Night” (1889) which haunts.


Personally, I’d like to have this one hanging over my piano (in addition to “Rebecca” which presently hangs there):  Picasso “Three Musicians” (1921).

So, this entry and my prior one summarizes one very intense week.  If it was not for the unbearable heat, and crowds, we'd still be dreaming of living there again.  I think we've abandoned that dream, although we’ll be back to the city where we have deep roots.  The exciting multiculturalism and the juxtaposition of where new architecture meets the old still speak to us.


Life is COMPANY, Sondheim’s Classic

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Bobby.../ Bobby.../ Bobby baby.../ Bobby bubi.../ Robby.../ Robert darling.../ Bobby, we've been trying to call you…

This is my favorite Sondheim musical.  Yes, it’s dated, but it’s been updated.  Yes, it doesn’t measure up in some ways to some of his later works, but it stands on its own. 

So, why do I feel this way?  I think it is THE breakout musical for Sondheim, for which he wrote both the lyrics and music (not his first time, but his most successful first time).  It set the stage for everything that followed in American musical theatre.  His intricate scoring, the deep emotional, dramatic and comic connections, his ability to merge words and music, anoint him as our very own Shakespeare of the American musical stage. 

So we set off to see the MNM Production at the Rinker Playhouse which is part of the Kravis Center for the Performing Arts, albeit late in the production run.   Therefore I was able to see what some of my “fellow” critics had to say about the show, which I would characterize as being lukewarm, one even unfairly comparing it to the Dramaworks’ Sweeney Todd production which is concurrently playing nearby.  Such a comparison is apples to oranges (although Dramaworks’ production is the best Sweeney Todd that we’ve ever seen).  One is more like opera and the other is like a cabaret revue.  

This is a high, high energy production and MNM Production’s mission is to bring Florida’s own reservoir of considerable talent to the stage.  These are all local professionals and we who live in South Florida have to applaud and support such an effort.  Many of the cast we’ve seen before, predominately at Dramaworks.  They are highly experienced and most of the cast have great voices and terrific comic timing.

Company is also squarely set in New York City in 1970, the year Ann and I married and we were still living there.  So it speaks very directly to me.  It is not his very first NYC focused work.  His musical, Saturday night about City life (which is rarely performed) was written by him in the mid 1950s when he was just developing his craft.  It never opened at the time as the producer died.  It finally was performed in the late 1990s after Sondheim was THE name on Broadway.

Company rose out of a number of one act plays written by George Firth and was brought together by Sondheim, morphing the main character – outsiders in each -- into one person, “Bobby.”  It utilizes a series of connected songs that underscore the main theme: the foibles of marriage.  For its time it was revolutionary as so many of Sondheim musicals have continued to be.

It's the story of Bobby the bachelor who is conflicted about being married versus the stories of his friends who have problematic marriages as well as his girlfriends who have issues of their own.  Bobby is plainly confused.  It hangs out there like unresolved anxiety, right to the end.

As it was based on a series of plays that spoke for themselves, the music Sondheim wrote is not in the classic move-the-plot-along variety.  As he himself said "the only effective approach I could come up with was quasi-Brechtian songs which either commented on the action, like "Barcelona"– but never be PART of the action. They had to be the opposite of what Oscar [Hammerstein] had trained me to write, even though he himself had experimented with songs of that kind in Allegro.  I decided to hold the score together through subject matter: all the songs deal either with marriage or in one sense or another, New York City."

In reflecting on the musical in his book Finishing the Hat, he said "Chekhov wrote ‘if you are afraid of loneliness don't marry.’ Luckily I didn't come across that till long after 'Company' had been produced.  Chekhov said in seven words what it took George and me two years and two and a half hours to say less profoundly.  If I’d read that sentence, I am not sure we would have dared to write the show, and we might have been denied the exhilarating experience of exploring what he said for ourselves."

That’s the back-story to this groundbreaking musical, one that explores the loneliness of love relationships, and the importance of friends, in the most vibrant metropolis of its time.  We move through the “approach-avoidance” complex of marriage through a series of songs, so many of them now classics, and several incorporated in the widely performed Sondheim revue, Side by Side by Sondheim.

As some of the critical reviews pointed out, the actor who plays Bobby does not have an exceptional singing voice, and he has to sing some of the more moving songs, “Someone Is Waiting,"“Marry Me a Little,” and "Being Alive," but he carries these on the shoulders of his acting abilities and we enjoyed his performance.  He is also supported by some of the finest singers in South Florida and so much of the show is ensemble singing and then solos or duets by Bobby’s friends and girlfriends.

The four couples in the play (Joanne and Larry. Peter and Susan, Jenny and David, and Harry and Sarah) knock it out of the park with "The Little Things You Do Together," an acerbic rebuke about marital relationships.  The husbands meanwhile leeringly hover over Bobby, singling "Have I Got A Girl for You" in the first and second acts.

There are several real show-stopping moments in this production:  Amy’s riotous, “Getting Married Today," Marta’s “Another Hundred People," capturing the city’s sense of alienation with gusto, and Joanne’s stinging, cynical piece about the empty lives of affluent women in the city, "The Ladies Who Lunch." His girlfriends, Marta, April, and Kathy, critique his non-committal ways in a hilarious pastiche of a sister act song in “You Could Drive a Person Crazy.”

One of my favorite songs from the show is “Sorry – Grateful,” expressing the ambivalence of marriage, sung by Bobby’s friends, Harry,  David, and Larry when Bobby asks Harry whether he was ever sorry he got married.  It’s a perfectly measured argument, lyrically, and expressed in a waltz like rhythm.  I’m not going to include all the lyrics, but here is an excerpt, classic Sondheim: You're sorry-grateful / Regretful-happy / Why look for answers / Where none occur?  My own piano interpretation, in the less than ideal recording environment of my living room, can be seen / heard here.

Every song in the show is timeless and every performer brings his / her best to the stage in their delivery. Here is the extraordinary cast:

Robert        Robert William Johnston*
Sarah          Laura Hodos*
Harry         Wayne LeGette*
Susan         Amy Miller Brennan*
Peter          Clay Cartland
Jenny         Lindsey Corey*
David        Joshua McKinney
Amy          Leah Sessa
Paul           Josh Kolb
Joanne       Erika Scotti*
Larry         Larry Alexander*
Marta        Mallory Newbrough
Kathy        Jinon Deeb
April.        Nicole Kinzel 

*Denotes a member of Actors' Equity Association, the union of professional actors and stage managers in the United States.

Bruce Linser demonstrates his considerable directing skills in this production, accentuating the comedic elements (e.g Sarah’s karate exhibition and her secret food addiction) and, with Kimberly Dawn Smith’s choreography, brings out the best of the energetic, ensemble pieces such as “Side By Side By Side” in the second act.  

Set design by Tim Bennett gives the director and cast a main stage to work on and five different platforms, sometimes all of them being utilized at the same time.  The set suggests the isolated nature of city life and the 70’s, although it is creatively brought into the present by Linser having his cast use the ubiquitous cell phone, replacing the answering machine.

The musical accompaniment is first rate, Paul Reekie directing four other musicians while playing the piano.  This is the kind of theatre that merits our appreciation and support in the future.

Rabbit at Rest -- Art as Life Itself

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For years I’ve had a copy of Updike’s Rabbit at Rest sitting on the small bookshelf of our boat, where we have spent a part of the summer for each of the last eighteen years.  Each stay grows a little shorter as we age.  Perhaps that is because the boat seems to get smaller but the truth is it’s just more difficult. Boating demands strength and agility and a touch of fearlessness, all of which we had in abundance when we first started to boat on the Long Island Sound almost forty years ago, visiting most ports from Norwalk, CT to Nantucket, with yearly stopovers at Block Island.  Our stays now are mostly at the home port dock, but fortunately we are far out into the Norwalk River so it’s almost like being at a quiet mooring, with just more creature comforts when needed, like air conditioning. But occasionally we go out to the Norwalk Islands where we still have a mooring, especially on a fine day like this, leaving our home port…


I’m not sure why I kept this duplicate copy of what I consider to be Updike’s finest novel, Rabbit at Rest, on the boat, but now I know, having picked it up again.  I’m steeped in nostalgia. When I first read it I felt I was looking into my future.  Now I'm looking into my past. No one is a better social historian than Updike, the novelist. I miss him so much.

Simply put, Updike peers into the abyss of death in this novel.  It hangs heavily in some way on every page and having gone through some of the same experiences with angioplasties and more, I closely identify.  He’s now a snowbird in this novel, 6 months in Florida and 6 months in his familiar Pennsylvania environs. Rabbit (Harry Angstrom) has let himself go, however.  His little exercise is golfing but even that goes by the wayside.  On the other hand he is addicted to fast food, salt, you name the poison.   “Harry remorsefully feels the bulk, 230 pounds the kindest scales say, that has enwrapped him at the age of 55 like a set of blankets the decades have brought one by one. His doctor down here keeps telling him to cut out the beer and munchies and each night…he vows to but in the sunshine of the next day he’s hungry again, for anything salty and easy to chew.  What did his old basketball couch…tell him toward the end of his life, about how when you get old you eat and eat and it’s never the right food?  Sometimes Rabbit’s spirit feels as if it might faint from lugging all this body around.”

This last sentence really gets to the heart of the novel.  It makes me wonder whether Updike was unconsciously elaborating on the great Delmore Schwartz poem, The Heavy Bear Who Goes With Me, especially the lines:

Breathing at my side, that heavy animal,  
That heavy bear who sleeps with me,  
Howls in his sleep for a world of sugar,  
A sweetness intimate as the water’s clasp,  
Howls in his sleep because the tight-rope  
Trembles and shows the darkness beneath.  
—The strutting show-off is terrified,  
Dressed in his dress-suit, bulging his pants,  
Trembles to think that his quivering meat  
Must finally wince to nothing at all.

With that as the essential theme, nothing escapes the granular examination of Updike the social historian, the sterility of Florida life, the inherent difficulty of the father – son relationship (poor Nelson becomes hooked on drugs, always having to live in the larger than life shadow of his father, and leads the family into financial crisis), the political back drop of the time – Ronald Reagan and George Bush, the cupidity of corporate America, driving real industry overseas and becoming a nation of financial engineering.  In fact, so much of the novel stands up to today’s world and one can see the foreshadowing of the Age of Trump.  There is even a swipe at Trump on the front page of Rabbit’s local Florida paper of the late 80s, a picture of Trump with the headline (Male call: the year’s hottest). One would have to wonder what Updiike would have written with the last few years as political fodder.

Rabbit maintains a little garden at his house in Pennsylvania, but he’s also planted the seeds of what his family has become, his wife Janice yearning for a life of her own as a real estate broker, his son Nelson running their car dealership into the ground with debts to finance his cocaine habit, his daughter in law, Pru, hanging onto a loveless marriage, his two grandchildren looking to their grandpa for love and guidance, and Rabbit like a deer caught in the headlights.  “Family life with children, is something out of his past, that he has not been sorry to leave behind; it was for him like a bush in some neglected corner of the back yard that gets overgrown, a lilac bush or privet some bindweed has invade from underneath with leaves so similar and tendrils so tightly entwining it gives the gardener a headache in the sun to try to separate bad growth from good.  Anyway he basically had but the one child, Nelson, one lousy child.”

But that is not the only thing that is entwined, being strangled; it’s his heart and the American soul. “As the candy settles in his stomach a sense of doom regrows its claws around his heart”  “With [his golf partners], he’s a big Swede, they call him Angstrom, a comical pet gentile, a big pale uncircumcised hunk of the American dream.”   And when he finally has a heart attack on a Gulf of Mexico beach, “he lay helpless and jellyfishlike under a sky of red, of being in the hands of others, of being the blind, pained, focal point of a world of concern and expertise, at some depth was a coming back home, after a life of ill-advised journeying.  Sinking, he perceived the world around him as gaseous and rising, the grave and affectionate faces of paramedics and doctors and nurses released by his emergency like a cloud of holiday balloons.”

He has an angioplasty when he should have had a bypass, but he doesn’t want anything done in Florida instead returning to his home soil of Pennsylvania.  “Harry always forgets, what is so hard to picture in flat Florida, the speckled busyness, the antic jammed architecture, the distant blue hilliness forcing in the foreground the gabled houses to climb and cling on the high sides of streets, the spiky retaining walls and sharp slopes….”  But home there are problems, family problems, money problems, leading to marital discord, and Rabbit on the run again, but to where, to Florida, bringing his compromised heart, and his focus more and more on death. “It has always…interested him, that sinister mulch of facts our little lives grow out of before joining the mulch themselves…”

And yet, on the lonely drive down I95, one that I’ve done scores of times myself, Updike’s penchant for social commentary and his ear for dialogue dominates.  Nearing the Florida border Rabbit turns to a man one empty stool away from the counter of a rest stop restaurant, asking:

“’About how many more hours is it to the Florida line?’  He lets his Pennsylvania accent drag a little extra, hoping to pass.

‘Four’ the man answers with a smile. ‘I just came from there. Where you headin’ for in Florida?’

‘Way the other end.  Deleon.  My wife and I have a condo there, I’m driving down alone, she’ll be following later.’

The man keeps smiling, smiling and chewing. ‘I know Deleon.  Nice old town.’

Rabbit has never noticed much that is old about it.  ‘From our balcony we used to have a look at the sea but they built it up.’

‘Lot of building on the Gulf side now, the Atlantic side pretty well full. Began my day in Sarasota.’

‘Really? That’s a long way to come.’

‘That’s why I’m makin’ such a pig of myself.  Hadn’t eaten more than a candy bar since five o’clock this morning.  After a while you got to stop, you begin to see things.’

‘What sort of things?’

‘The stretch I just came over, lot of patchy ground fog, it gets to you.  Just coffee gets to your stomach.’  This man has a truly nice way of smiling and chewing and talking all at once.  His mouth is wide but lipless, like a Muppet’s  He has set his truck driver’s cap, with a bill and a mesh panel in the back, beside his plate; his good head of gray hair, slightly wavy like a rich man’s is permanently dented by the edge of the cap.

‘You driving one of those big trucks? I don’t know how you guys do it. How far you goin’?’

All the salad on the plate has vanished and the smile has broadened, ‘Boston.’

‘Boston! All the way?’ Rabbit has never been to Boston,  to him it is the end of the world, tucked up in under Maine.  People living that far north are as fantastic to him as Eskimos.’
 
There is more to the dialogue than that but it exhibits Updike’s keen ear for ordinary talk.  I could have had the same conversation as that (although Boston is not fantastic to me in the same way).

Arriving in Florida, without his wife, who is really not following him, he is alone, with his failing heart and his dimming dreams, the heavy bear that goes with him, dragging him down, down.  Rabbit at Rest.  Brilliant, one of the best novels of the late 20th century along with Roth’s American Pastoral.

Not having Updike’s decade by decade commentary of the Rabbit series feels like the same galactic void from his sentence:  “The stark plummy stars press down and the depth of the galactic void for an instant makes you feel suspended upside down.” My world is upside down without him.

“We are each of us like our little blue planet, hung in black space, upheld by nothing but our mutual reassurances, our loving ties.” –

 



Time Machine to the 19th Century

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We boarded our Ford rental and dialed the year mechanism back in time.  We fortuitously landed in the early 19th century when Jane Austen was publishing her iconic books to find ourselves in picturesque Garrison, New York overlooking the Hudson Heights where Kate Hamill’s adaptation of Austen’s Pride and Prejudice was being performed as part of the Hudson Valley Shakespeare Festival.  The journey back in time took us through the verdant hills of Connecticut and then New York, arriving at our hotel for an overnight stay only to realize we forgot something important: we were supposed to pack our folding chairs for the atmospheric picnic on the sprawling lawn which everyone enjoys before the evening performance as well as for a talk by the author herself, Kate Hamill, who also stars as the irresistible Lizzy in the play.  What to do?  Wal-Mart to the rescue!  So we dialed back to 2017 and a nearby Wal-Mart super store where we found two inexpensive folding chairs.  What a way to start a time journey. 

Back to the early 19th century we strolled from the parking lot of the Boscobel House and Gardens, through a rose garden no less, where a Shakespearean tent and stage has been erected for the summer.  We found a perfect little table for our dinner, Ann with her requisite Cabernet, with dainty chairs already provided.  Who knew?   So, we ate and enjoyed watching others set up blankets and chairs on the lawn for their own feasts.


Meanwhile a table (and more chairs!) was set up for a rare and sparkling interview with Kate Hamill who we learned is now in the process of creating adaptations of all of Jane Austen’s works, Ann having already loved her first inventive endeavor, Sense and Sensibility at the Folger Shakespeare Theatre in Washington last year.  Hamill comes to authorship via way of the stage and she is a damn good actress, saving the centerpiece role of Lizzy for herself of course (why not, she’s the boss, and she fits and acts the part perfectly!). Hamill is to the left in the photo below.

After her talk and some time for the picnickers to finish while the sun was setting to the west of West Point which can be seen in the distance, we went to the tent to find our seats and enjoy the show.  I’m not writing a full blown review.  Hamill has chosen farce as the ideal vehicle to present the work, has appropriately “killed off” Kitty who is really superfluous to a dramatized version, and has several male members playing two or more roles, including some of the female roles.  The characters are now almost caricatures.  We’re talking belly laughs at times, a riotous, imaginative adaptation, but one which left us feeling it was somewhat irreverent.  But that is merely a personal opinion, preferring a more straight forward dramatization.  Of course we have enjoyed it many times on film and only once on stage in London, so Hamill’s production was certainly different.  The acting and directing was what you would expect from experienced Shakespearean actors.  So, all in all, it was a wonderful evening.

Afterwards, we set our time clock back to the 21stcentury and drove to our hotel on the winding dark roads.  In the morning, we were really looking forward to visiting the real star of the weekend, a tour of Boscobel itself.   

After checking out, back to the early 19th century and the magnificent, unique, beautiful Boscobel House.  This home was built in Montrose, NY in 1808 and after being scheduled for complete demolition in the mid 1950s was rescued, piece by piece, by a historical-minded group of locals, including an endowment from The Readers Digest cofounder and was painstakingly moved to its present site in Garrison, some 15 miles away, with a similar view of the Hudson.  No expense was spared over the years to reproduce with precision the way the house looked when its original owner, Morris Dyckman, built it and furnished it between 1804 and 1808, only a few years before Pride and Prejudicewas first published.  From the floorings, the furniture to the wallpaper, all recreated either by hand or reproduced down to the most exacting detail.  All perfection.

The home itself, with its views, is breathtakingly elegant, and beautifully maintained with historical exactitude.  One gets a very real sense during the small group tour of what it must have been like to live in those times, albeit as a very wealthy person, Boscobel not being your run-of-the-mill abode.  There was much ingenuity as to how natural light and ventilation are used and simple contrivances to make their lives a little easier.  Alas, no Internet or plumbing or central heating, but much reading, music, card playing, camaraderie, pleasures we of the 21st century survivors club have somewhat left behind. 

There was a astute appreciation of history, architecture and the Federal style furniture which made this home stand out in its unusual neoclassical design.  It is as memorable as our tours of Emily Dickinson’s home, Thomas Jefferson’s, The Biltmore in Asheville and many others we’ve visited over the years, maybe more so because of the meticulousness of how it’s been preserved.  Where original artifacts were not longer extant, they’ve been carefully reproduced.  Absolutely nothing has been ignored in this process.  A mere look at the 200+ year old wind up Grandfather clock, with its original mechanism and still operating, speaks volumes about the care to preserve history.

After the tour we again took in the breathtaking views of the Hudson Heights and West Point, explored the gardens and then went into nearby Cold Spring to have a late lunch at the Hudson House which has been in operation since 1832, only one year before the Collected Works of Jane Austen was first published, some 15 years after her death.  Her works have never gone out of print since.  Naturally, Hudson House is on the Hudson River so we were still well ensconced in the 19thcentury before dialing 2017 on our Ford time machine, climbing and gliding down the winding, hilly back roads, returning to our interim home at our boat club in Connecticut.
 


Appropriate

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A return to our Connecticut roots would not be complete without attending a play produced by the Westport Country Playhouse where we’ve gone over the summers for some forty years.  The playhouse retains its essential “country” character although the old wooden bench seats are gone (thankfully) and air conditioning has been introduced (in fact too air conditioned), but the essential mission of presenting the highest caliber theatre has been retained.  The play we saw – Appropriate -- just closed, so writing a full-blown review is not my intent.  For that, there is always the reliable New York Times – a review of the play when it opened Off Broadway in 2014.

Without having seen that performance I imagine the Westport Country Playhouse’s production is every bit as successful,

The play was, as the author admits, “appropriated”  in some way from a number of the finest American family dramas of our times.  In particular there is attribution to Sam Shepard’s Buried Child, Horton Foote’s Dividing the Estate, and Tracy Letts'"August: Osage County”.  And to say the play is derivative of such works, to me, is not a criticism but a compliment.  Branden Jacob-Jenkins’ dialogue is really a new voice in American theatre and even though every family may be unhappy in its own way, eventually it all boils down to dreams deferred or unrealized and the blame that hangs heavily in rare family reunions.  When that reunion is over the death of a patriarch, and there is a dark secret that explodes on the family, as it does on the adult children, Toni, Bo, and Franz, the stage is literally set for conflict.  And when you take your seat, the chaos of the gloomy stage foreshadows of what will unfold.

I was amazed at Jenkins’ ability to draw such well defined characters and to write such potent dialogue.  There is even a “fight director” for the play as verbal accusations, not only become loud, but physical as well.  And the three siblings are not the only ones caught in the fray; there is an aggrieved spouse, a new age girlfriend, and children of the spouses.  The dysfunction is multi-generational. No one escapes the tragedy, which is eerily heightened by a decaying ancestral Arkansas family home (think Tennessee Williams), the increasing intensity of the sound of cicadas, and the suggestion of ghosts haunting the property.  And of course, the secret,  the inexplicable discovery of a photo album containing pictures of lynching’s among their father’s property (in addition to the home being on the border of a white graveyard with stones, and unmarked graves of blacks on the other side):  the original American sin and their father’s potential complicity confounds and divides the family further.

The Westport Country Playhouse has spared no expense in scenic design, lighting, and sound.  They recognize Jacobs-Jenkins as an astute dramatist who is at the beginning of an important, noteworthy playwriting career.  We were fortunate to catch this production.  This is what great theatre is all about and we will be watching for future works by this talented and gifted writer.

Hurricanes

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Good riddance and farewell Irma, especially in the destructive wake of Harvey.

Now as I write this Jose is threatening our boat in Connecticut with Maria on its heels likely to impact the same islands devastated by Irma (adding Puerto Rico as a direct Category 4 hit).

We’ll pay for a “Wall” to alienate good neighbors such as Mexico but refuse to take global warming seriously.  Why not treat THAT as an urgent matter, especially for future generations?  No, global warming didn’t “cause” Harvey or Irma, but the severity of storms will only increase in the future without shrinking the carbon footprint of our seriously overpopulated planet.  There is more than three times the number of people on this planet than when I was born!  Malthus was right about the geometric growth of population, but food shortage will not be the only offset.  There are solutions, if only we had the wisdom to listen to our scientists.  But I digress.  Back to the storm itself.

The day before the hurricane would begin to affect Florida we were due to fly out of the White Plains airport via Jet Blue, returning to home after spending a month on our boat in Connecticut.  Man makes plans and fate laughs.

As the storm was ramping up, with more and more dire warnings of a potentially Category 5 storm threatening Florida, we, too, became obsessed with the Weather Channel, watching every twist and turn of the spaghetti models.  Ka-ching, ka-ching for the Weather Channel, with, ultimately, their reporters waist-deep in water, leaning into the wind with their microphones for the enjoyment of their audience.  This is what reporting has become in the age of reality TV.

Early on it seemed to have a path that Floyd followed in 1999 and Mathew last year.  If so, it would track close off shore up the east coast of Florida and we thought to ourselves best be home before as that Saturday flight would be cancelled and flights would be more difficult to obtain later.  I had a monthly car rental from Avis to return to the White Plains airport, one of those special monthly deals for which they wanted to charge me a fortune on a per diem basis if I kept it more than the appointed time.  Funny the things you consider in the light of an impending weather event that could change your life.  Avis is truly Ka-ching oriented with subpar customer service and dirty automobiles.  Never again, Avis. 

So on the day after we changed our reservations to return on Thursday, the models shifted to a direct track over the east coast of Florida.  Looking at the maps it appeared to have a bulls-eye on our house!  Did we want to be in the house during a Category 4 or 5 storm?  If we were younger, perhaps I would have said, bring it on.  Not so anymore.  This is especially the case given the images of Houston’s bout with Hurricane Harvey.  Such devastation and heartbreaking scenes.

As we were making a donation to the Red Cross for Harvey, we contacted Jet Blue again (knowing it was hurricane season, I had presciently bought their Jet Blue Flex tickets, which enabled me to change without penalty).  As we were to fly out of a small airport (HPN) to PBI, there were a limited number of seats available for their Tues., Weds. or Thurs. flights.  I figured the hurricane would be gone by Tues, but thinking of the logistics of rearranging planes and flight crews, selected Weds. which, as it turned out, was the first day they did indeed resume flights to PBI.  Just dumb luck.

Now we just had to wait it out on our boat, hoping still the storm would pass out to sea, not wishing it on the west coast of Florida, but with every update, that’s where it seemed to be moving.  When we decided to move to Florida 18 years ago, we of course knew of the hurricane dangers (but most of the damage I witnessed during my life was from storms that visited Connecticut or Long Island, such as Carol, Gloria, and Sandy).  We had been in our house in Florida for Hurricanes Jean and Wilma, the latter being the worse although damage was limited.

Most of the really life threatening effects of hurricanes is from storm surge and not wind, and yet we live on the water.  But the water has never gone over our seawall.  We purposely bought on the east coast of Florida because the continental shelf drops off into deep water near the shore and storm surge is less of a threat than on the west coast as the Gulf of Mexico is shallow. 

Several years ago, with our mortgage paid off, we had the option of dropping the otherwise mandatory portion of our insurance covering windstorm damage from a hurricane.  By then, there was only one state sponsored insurance company that would cover homes near the water, Citizens, and their rates became usurious, with enormous deductibles.  We could pay all those premiums for years and years and probably not need it so instead we set aside those premiums for retrofitting our home for “the really big one. “

Irma seemed to be it.  The first significant investment after banking those premiums was a new roof using top of the line underlayment in combination with the 3M Polyset roofing tile attachment system which is guaranteed for 20 years.  Roofs which were peeled off during Hurricane Charlie using conventional nails, screws, and mortar (as was our previous roof), were unscathed using the 3M system, so we went for the best.  At the same time we replaced the east facing corrugated steel window panels with clear Lexan panels so there could be some light during a hurricane if we should be in the house (we were in the complete dark during Wilma).  

Next year we replaced all north and south facing windows with heavy duty hurricane impact windows and installed a generator to run the essentials (not a whole house gen as we rarely lose power and not for a long time).  This has its own circuit breaker box and I just plug in a 30 amp line, exactly the same kind as we use on the boat in Connecticut.

Then the next year, the big expense, installing electric roll down shutters across the length of our water-facing porch and therefore not needing those heavy panels on the four sliding glass doors that open to the porch.  That also tied down the roof to the cement foundation with the supports for the roll downs.

Last year we completed the retrofit by replacing the two sets of French double doors that open out to our pool patio with the heaviest impact doors made.  Each of the four doors must weigh hundreds of pounds each.  It took four men to carry one and all day to install.

At the same time I fabricated and had installed a brace for our garage door, although the door itself is hurricane rated.  The brace was to be used only for the most extreme storm as it is tied into the cement floor with anchors and attaches to the rafters of the attic which provides additional strength to both the roof and garage door.  Given the dire forecasts, we asked our house minder to put up that brace.

And, so, we waited out the storm, fairly confident about our house, but we worried about our community and friends who had sheltered in place.

Meanwhile, life goes on.  I had to return that monthly rental car to Avis, and picked up a less expensive weekly rental, which by the time we were half way back to the boat from the airport I finally noticed a light flashing “check tire pressure.”  Cars have gone electronic and usually this means the pressure is a little off so I made a mental note to get air at a filling station.  By the time we got back to the marina, I looked at the tires.  All seemed to be fully inflated, until we saw the mother of all nails in the right rear.  It was situated in such a way that it looked like it was there for a long time, a perfect plug, but did I want to take a chance it would hold?  No.  So I called Avis and tried to do a local swap at one of their nearby offices, but no, I had to drive all the way back to the airport.  “Ka-ching!” Avis cried out again.

So all the way back to the airport and then had to deal with a surly, clearly unmotivated check in person in the lot before having to go back to the desk.  They gave me another car which was low on windshield fluid and was just unclean, but by that time I was in the lot, and needed the car for only a few days, so we drove back to the marina, not happy campers.

I had had it with driving, the anxiety of the encroaching hurricane, the uncertainty of whether it would be a direct hit, and that night we were to celebrate our son’s birthday with he and his fiancée, Tracie. They kindly offered to drive us to the restaurant which was not exactly around the corner, in Cannondale, CT, a special place called “The Schoolhouse” – actually an old school house.  But the best part is Jonathan drove and used all the back roads of verdant Connecticut, winding hills up and down, past places I hadn’t seen in years and years, arriving at the restaurant as if there was not a care in the world.  We were all together, Jon, Tracie, Ann, and myself, as the requisite selfie shows. 

The menu was even printed just for us, welcoming the “Hales” which is our restaurant reservation name, much easier to give the name “Hale” than my real surname.

The Schoolhouse is a “farm to table” restaurant and a relaxing, enjoyable experience.  What a break from all the anxiety.

Back to the boat for the next few days, to prepare for our trip home, wondering whether the storm will leave the community intact.  With every hour, its track moved further and further west, seemingly to put the west coast of Florida in the cross hairs of a potential massive tidal surge, which would have been the worst of all possible outcomes.

Meanwhile, knowing there was nothing more I could do for our own house, I tried to read Richard Russo’s short story / novella collection, Trajectory.  Hard to give it the attention it so richly deserves, while tracking a storm on my phone on and off, and wondering whether there would be a flight on Weds. as we had scheduled.  Russo, along with Anne Tyler, are our best mature storytellers, sharing so much in common, our very own modern day Jane Austens, their idiosyncratic characters crying out for love, fearing their social awkwardness, dealing with money and health problems, but mostly with their fractured relationships.

In fact the story “Voice,” concerns a retired Jane Austen scholar, Nate, who is inveigled by his older brother, Julian, to go on a group tour to Italy.  Their relationship reverts to one of their childhood, meanwhile competing for the same woman.  In general, the collection is infused with Russo’s gift of humor.  Perhaps the funniest novel I ever read is his Straight Man.  The latter is laugh out loud, but one can get a sense of his more subtle gift of humor and characterization from this paragraph from “Voice.”  A modern day Jane Austen would be proud of him:

At any rate, as the two women approach, weaving through the crowd, Nate knows he's on his own. The plain one arrives first, thrusting her hand out, much as a man would, and announcing that her name is Evelyn, or, if he prefers, Eve. Nate, wondering why on earth he should have a preference, takes the proffered and pretends delight to be met. Eve's hair is cut sensibly short for a woman her age – early 60s, Nate figures, though he's never been much good I guessing women's ages – and she's wearing something like a tracksuit, except nicer and maybe even expensive. The general impression she conveys is of a woman who once upon a time cared about how much she presented herself to men but woke up one morning, said fuck it and was immediately happier. She is also, Nate fears, one of those women who is confident she knows what's in the best interest of others. Seeing someone who obviously prefers to be left alone, she's all the more determined to include him in whatever awful group activities she's contemplating. The word she probably uses to describe whatever she has in mind is fun. It won't be, of that Nate's certain.

Russo deals with my own concern with Group travel:   Nate studies the daily travel schedule, trying to square it with the people he met.  A few appear fit enough, but others strike him as medical emergencies waiting to happen. Both humpbacked Bernard and the orange-haired, chain-smoking women who stop to catch her breath…are genuine heart-attack candidates. Then there’s the extremely elderly couple who, when at rest, lean into each other should to shoulder, forming the letter A; if either were to move quickly, a broken hip would be the likely result for the other.

Russo’s humor camouflages the flip side, aging, illness, death and even his own writing skills.  In the story “Intervention” Ray, a middle aged real estate agent is facing a crisis, having a cancerous tumor.  He thinks about his father’s death:  But he must also have been proud of his father, or why would he be emulating him now it hadn't been a conscious decision – I'll do this the way my father did it– when he was informed about his own tumor. He simply concluded, as his father must've done, that he wasn't special, that there was no reason such a thing shouldn't happen to him. Like his father, he hadn't protested that he was too young, or that he had been cheated, or that life is unfair, or that he deserved an exemption.

In “Milton and Marcus,” Ryan, a writer in desperate need of a job is invited to try screen writing again.  He has his doubts about rejoining the Hollywood game and even more so about his skills:
Over the years we kind of stayed in touch, and when I had a new book out, Wendy always called to congratulate me. I think he must've known that my work had lost a good deal of its vitality by then. Each book sold fewer copies than the one before, and while the critics remained mostly respectful many reviews seem to agree that my earlier works had felt far more urgent than the later ones. The sad truth is that some writers have less fuel in the tank then others, and when the vehicle begins to shudder, you do well to pull over to the side of the road and look for alternative transportation which is what I did.

But if I had to pick but one phrase as central to this collection, it is:
The thing about confidences – the unsolicited opening of the heart – is that they invite reciprocity, even when it’s not a good idea….Russo offers “the unsolicited opening of the heart” in Trajectory. 

And so with the completion of the novel came the passing of Irma, the devastation on the west coast of Florida, but thankfully less than they thought it would be, although the Florida Keys was not so spared. So, upon our scheduled return to our home, we wondered what we would find.  Except for some minor landscaping damage, one could hardly tell our home had been hit by the storm.  We were among the lucky ones.

But we also returned to the sad news that Ann’s cousin Saul had died.  He had had a massive stroke two weeks before the storm, and his three “kids” were determined to form a vigil by his bedside with his wife of 55 years, Lynda.  They moved him to hospice when he was declared brain dead.  And there they sat through the storm, Saul fighting death for days and days without food or water.  The family was finally able to hold his funeral in Boca which naturally we attended.  This is a very close family, children and grandchildren, and they stood with their mother at the Mausoleum where the service was held and then the interment.

The Mausoleum itself is on two floors with multiple crypt levels for bodies.  Ann and I have never been to one.  It is a massive marble structure which we have never seen, as well as the procession, the casket being raised on an elevated platform after being wrapped in a clear plastic tarp, and then inserted in a cubicle for two, an instrument being used to push the casket all the way in the back of the cubicle, leaving room for his wife when she ultimately passes.  We all sadly watched this.

It is otherworldly and I could not help but think of homeless victims of Harvey and Irma, or people who lost their lives, who could have been protected in shelters such as this fortress.  And believe me; this building will outlast any structure in Florida.  It is not my place to pass judgment on the need for placing our remains in such edifices.  If it gives families comfort, so be it, but when one thinks of the resources being used to protect the dead while the living need so much, it gives me pause.  For us there will be cremation and the scattering of our ashes to the rising waters.
Shorefront Park, Norwalk CT


Who Holds Whom Hostage?

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For decades North Korea has crafted a delicate balance, building a nuclear capability while promoting nationalism to perpetuate the Kim Jong-un regime. American Presidents during those years were willing to accept the status quo which was preferable to a military confrontation.  Even with conventional weapons, , on a first strike North Korea could kill up to a million people in Seoul, only a few dozen miles from the DMZ.  That potential has held the world hostage all these years.

Pressure on North Korea’s trading partners, particularly China, to enact stiff sanctions on North Korea has, until recently, been futile.  Here China holds the U.S. hostage, owning a portion of our debt and more significantly knowing the American public’s insatiable demand for cheap imported goods would prevail over any economic retaliation against China.  China was content to have North Korea as a buffer zone until it, too, has been startled by NK’s nuclear ambitions.

Indeed, a delicate balance, and then Trump’s opening day message at the United Nations, where he threatened to “totally destroy North Korea.”   We all know what that is code for – the use of nuclear weapons.  An American President has said he would use this country’s nuclear force as a first strike.

Unthinkable.  There were so many other ways to signal our resolve, to further pressure North Korea to the negotiating table.  He went on to call Kim Jong-un ‘Rocket Man,’ --in front of the United Nations, schoolyard name-calling.  Then, further undermining the dignity of the Office of the Presidency, he continued those threats and name-calling in Tweets.

Surprise.  Tensions have ratcheted up, Kim Jong-un responding with new threats, including testing a hydrogen bomb over the Pacific.  Unlikely, but to even utter that is giving as good as one gets.

There has been much criticism levied at Trump for worsening an already incendiary environment between the two countries, so what does he do?  -- he turns on the NFL.  He has a reptilian instinct for survival.  In so doing, he wrapped himself in the flag, the one that belongs to us all.  “Fire the sons of bitches” referring to NFL players who went to one knee during the playing of the National Anthem.

I come from a generation which would never do that, but I would defend another person’s right to protest that way over such weighty issues as “Black Lives Matter.”  Of course all lives matter in this country and to be born black should not be an impediment, but look where Trump brought President Obama – to the point of producing his birth certificate to prove his legitimacy as the President.  If Obama was white, no such argument would have been made. 

Now, if anyone is an illegitimate President, it is Trump.  And he knows it -- how he got to be President, by his actions and Russia’s and astonishingly by those of the head of the FBI.  Even his ignorance of American history, and his divisiveness seemed to work in his favor.   He did not win by popular vote and although some of his marginal supporters say they would not vote for him now, he still has a solid 30 -35% base enamored by his strong-arm tactics, convinced he can do no wrong.  And it is HE who is holding the rest of America hostage.

He knows his tenure as President is precarious, with the possibility of impeachment or the invocation of the 25th amendment, which provides for the removal of the President if “disabled” and unable to perform the duties of the office.  One could argue that we are already there, but it is a high bar to achieve and it has to be set in motion by the Vice President and ultimately have the backing of 2/3 of Congress if the President objects. 

With his pathetic response to the Charlottesville show of power by white supremacist groups and his attack on NFL players, mostly black (although he disavows that as being an issue), he dog whistles to his hard-core followers, many probably NRA diehards, and thereby creates a hostage situation.  I can see clearly, now, the “strategy:” “remove me as your President and suffer the consequences of a new Civil War. “  He has his army, he has the means of communication, he exhibits sociopathic thinking, and his politics of divisiveness have created such an environment.  He would even risk nuclear war.

So, North Korea holds the world hostage, China holds us hostage, and Trump holds the majority of the American people hostage.  Never has there been such a President who disrespects the very ideals which makes the American flag so sacred.  He has done more than take a metaphoric knee to fortify his fragile ego.

Our Gun Culture

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We are addicted to our guns.


Now this horror in Las Vegas. 

Other developed countries have more sensible laws. “The United States’ gun homicide rate is 25 times higher than other high-income countries” -- The Guardian:  So, America, this is how other countries do gun control. 

It’s not only the laws, it’s the culture.  In what country, other than the U.S. would you see a politician brandishing a gun, like Alabama’s Roy Moore proudly did, and then get endorsed by its leader? 

After the terrorist attacks in Paris Trump said that it "would've been a much different situation if the city had looser gun laws” meaning if everyone had a gun the shooter might have been taken down earlier.  Makes a lot of sense, arm everyone and that will lead to less shooting.

I wonder how Roy Moore’s cap gun would have stood up in the Las Vegas shooting, or anyone’s hand gun for that matter pitted against someone with a military grade automatic weapon firing from far away, and way above. 

After Representative Steve Scalise was shot last year when a gunman targeted a congressional baseball practice I wrote the following about gun control:  unless we all pull together the subsequent dialogue can go two divergent ways.  One could lead us down the path of greater authoritarianism and the call for arming more citizens (although a greater police presence is going to be necessary when many of our Representatives are in public venues).  The other path could call for the long-needed ban of military grade weapons.  Are we all supposed to be armed with AR-15s on our baseball fields?  I’m no Pollyanna and know that such a ban would have little impact on what happens in the near future.  I’m thinking long term.  This is not about challenging the 2nd Amendment, and it is not about Republican vs. Democrat.  It’s about common sense banning military weapons, doing comprehensive background checks, expanding our treatment of mental illness, and developing better early warning signs of mentally disturbed people from social networks and prior arrests.

Senseless to repeat everything I’ve written about this self-inflected plague, our love of guns.  It starts with more sensible laws, better education, and a change in our thinking that having a gun somehow symbolizes freedom and machismo.

The key word index to this blog says it’s 19thtime I’ve written about the topic.  With each outrage I feel the urge to say my piece.   This particular entry after the Orlando shooting summarized some of them.

Perhaps we will finally have the wisdom to approach this problem sensibly as have other developed nations.  What politician has the courage and is willing to lead?  I nominate John McCain for the role, respected on both aisles, a fitting legacy. "Our nation turns its lonely eyes to you."
 
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