Month: May 2022

Actors’ Shakespeare Project’s ‘The Bomb-itty of Errors’ Brings out The Bomb in The Bard

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Cast of Actors’ Shakespeare Project’s ‘The Bomb-itty of Errors’

by Shelley A. Sackett

Actors’ Shakespeare Project’s “The Bomb-itty of Errors” is perfect pre-summer fare. Hip-hop and rap, a live DJ, a brilliantly exhaustive (and sometimes exhausting) script, some sublime acting and — as if that’s not enough — the Bard himself, camouflaged but hardly hidden. All wrapped neatly in a 90-minute intermission-less package that is as invigorating as it is boisterous.

The brainchild of four final-year students at New York’s Tisch School of the Arts, “Bomb-itty” started as a university project in 1998. It was so popular that it received enough support to return to New York the following year for a seven-month run, which in turn led to a lengthy Chicago run.

“Bomb-itty” is true to Shakespeare’s style of rhyming couplets, (sometimes bawdy) humor and historical references. The language often mirrors Shakespeare’s with references to other works sprinkled here and there to stroke the egos of those who recognize them. But the real star of the show is the vibrant, beatbox soundbox and the actors who manage to memorize a super-sized number of lines, which they deliver at break-neck speed.

The result is a theater experience unlike any I’ve experienced. (No, “Bomb-itty” is not a “Hamilton” clone. It’s way more fun.)

Based more than loosely on Shakespeare’s “The Comedy of Errors,” the plot involves two sets of identical twins with identical names, mistaken identities, misfortunes galore and a slew of stereotypes (some more offensive than funny). To get the most out of the rapid fire lines and delivery, either arrive early enough to read the playbill’s summary (twice, at least), or spend some time digesting the on-line Cliff Notes version of the original. Trust me, it is time well spent.

Despite first appearances (the prologue is a gem), “Bomb-itty” adheres closely to Shakespeare’s play.

In the original, a merchant of Syracuse, Egeon, suffered a shipwreck some years ago in which he was separated from his wife, Emilia, from one of his twin sons, later Antipholus of Ephesus, and the son’s slave, Dromio of Ephesus. The other slave’s twin, Dromio of Syracuse and Egeon’s remaining son, Antipholus of Syracuse, remained with Egeon.

When he came of age, Egeon allowed Antipholus of Syracuse and his slave Dromio of Syracuse to go in search of his lost brother. When they didn’t return, Egeon set out after his remaining son, and the play begins as we learn of Egeon’s capture and his condemnation to death by Duke Solinus in the hostile city of Ephesus. The details of Egeon’s story move Solinus to pity, and he grants a reprieve until nightfall, by which time a ransom of a thousand marks must be raised.

Unbeknown to all, the missing Antipholus and Dromio landed in Ephesus after the shipwreck and have thrived there. Antipholus of Ephesus and his servant Dromio are thrown into confusion when, unknown to each other, their twin brothers of the same names arrive in town from Syracuse.

In “Bomb-itty,” the Antipholus and Dromio twins are now quadruplets, put up for adoption after their father, a famous rap MC (Master of Ceremonies), committed suicide. The time is today and Ephesus and Syracuse have been replaced by the US East and West coasts.

Antipholus and Dromio of Ephesus visit Syracuse, New York, to take part in an MC competition. In the ensuing mayhem, one Antipholus is called home to a wife he never married, only to fall in love with her sister, Luciana. Meanwhile, the other Antipholus runs afoul of a policeman who enjoys a questionable relationship with his horse.

Four actors play most of the roles. Henry Morehouse as Dromio of Ephesus and Luciana chews up the stage. He has a natural physicality and stellar delivery and is comfortable and confident. He hands-down steals every scene in which he plays Luciana. A recent graduate of Boston University with a BFA in acting, Morehouse is a talent to be watched. His stage presence is spot-on and magnetic.

Likewise, the veteran actor Malik Mitchell brings the same charisma and acting chops to this production that those of us lucky enough to see him in SpeakEasy Stage Company’s “Once on this Island” have already experienced. His Dr. Pinch, the Rastafarian herbal “doctor,” is a show-stopper.

Anderson Stinson, III is all sinew and smiles in his many roles, shining as Antipholus of Syracuse. DJ Whysham strikes all the right beats and Victoria Omoregie rises to the challenge of her many character and costume changes.

Notwithstanding its gratuitous sexism, misogyny and anti-LGBTQ+ rhetoric (and a truly baffling and unforgivable antisemitic portrayal of a Jewish jeweler), the play is worth seeing for its high-energy, rowdy fun and for showing us what hip-hop and rap in the right hands can produce: a unique and exciting contemporary art form. If you listen carefully, you can feel the Bard’s ghostly presence, his sandaled toes tapping out the beats. For tickets and more information, go to: https://www.actorsshakespeareproject.org/

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MICHAELHOBAN

Cast of Actors’ Shakespeare Project’s ‘The Bomb-itty of Errors’

‘The Bomb-itty of Errors’ — Written by Jordan Allen-Dutton, Jason Catalano, Gregory J. Qaiyum, Jeffrey Qaiyum and Erik Weiner. Based on ‘The Comedy of Errors’ by William Shakespeare. Directed by Christopher V. Edwards. Scenic Design by Baron E. Pugh; Costume Design by Zoe Sundra; Lighting Design by Max Wallace; Props Design by Steve Viera, Sound Design by Abraham Joyner-Meyers. Presented by the Actors’ Shakespeare Projectat the Charlestown working Theater, 442 Bunker Hill St., Chares through June 26.

by Shelley A. Sackett

Actors’ Shakespeare Project’s “The Bomb-itty of Errors” is perfect pre-summer fare. Hip-hop and rap, a live DJ, a brilliantly exhaustive (and sometimes exhausting) script, some sublime acting and — as if that’s not enough — the Bard himself, camouflaged but hardly hidden. All wrapped neatly in a 90-minute intermission-less package that is as invigorating as it is boisterous.

The brainchild of four final-year students at New York’s Tisch School of the Arts, “Bomb-itty” started as a university project in 1998. It was so popular that it received enough support to return to New York the following year for a seven-month run, which in turn led to a lengthy Chicago run.

“Bomb-itty” is true to Shakespeare’s style of rhyming couplets, (sometimes bawdy) humor and historical references. The language often mirrors Shakespeare’s with references to other works sprinkled here and there to stroke the egos of those who recognize them. But the real star of the show is the vibrant, beatbox soundbox and the actors who manage to memorize a super-sized number of lines, which they deliver at break-neck speed.

The result is a theater experience unlike any I’ve experienced. (No, “Bomb-itty” is not a “Hamilton” clone. It’s way more fun.)

Based more than loosely on Shakespeare’s “The Comedy of Errors,” the plot involves two sets of identical twins with identical names, mistaken identities, misfortunes galore and a slew of stereotypes (some more offensive than funny). To get the most out of the rapid fire lines and delivery, either arrive early enough to read the playbill’s summary (twice, at least), or spend some time digesting the on-line Cliff Notes version of the original. Trust me, it is time well spent.

Despite first appearances (the prologue is a gem), “Bomb-itty” adheres closely to Shakespeare’s play.

In the original, a merchant of Syracuse, Egeon, suffered a shipwreck some years ago in which he was separated from his wife, Emilia, from one of his twin sons, later Antipholus of Ephesus, and the son’s slave, Dromio of Ephesus. The other slave’s twin, Dromio of Syracuse and Egeon’s remaining son, Antipholus of Syracuse, remained with Egeon.

When he came of age, Egeon allowed Antipholus of Syracuse and his slave Dromio of Syracuse to go in search of his lost brother. When they didn’t return, Egeon set out after his remaining son, and the play begins as we learn of Egeon’s capture and his condemnation to death by Duke Solinus in the hostile city of Ephesus. The details of Egeon’s story move Solinus to pity, and he grants a reprieve until nightfall, by which time a ransom of a thousand marks must be raised.

Unbeknown to all, the missing Antipholus and Dromio landed in Ephesus after the shipwreck and have thrived there. Antipholus of Ephesus and his servant Dromio are thrown into confusion when, unknown to each other, their twin brothers of the same names arrive in town from Syracuse.

In “Bomb-itty,” the Antipholus and Dromio twins are now quadruplets, put up for adoption after their father, a famous rap MC (Master of Ceremonies), committed suicide. The time is today and Ephesus and Syracuse have been replaced by the US East and West coasts.

Antipholus and Dromio of Ephesus visit Syracuse, New York, to take part in an MC competition. In the ensuing mayhem, one Antipholus is called home to a wife he never married, only to fall in love with her sister, Luciana. Meanwhile, the other Antipholus runs afoul of a policeman who enjoys a questionable relationship with his horse.

Four actors play most of the roles. Henry Morehouse as Dromio of Ephesus and Luciana chews up the stage. He has a natural physicality and stellar delivery and is comfortable and confident. He hands-down steals every scene in which he plays Luciana. A recent graduate of Boston University with a BFA in acting, Morehouse is a talent to be watched. His stage presence is spot-on and magnetic.

Likewise, the veteran actor Malik Mitchell brings the same charisma and acting chops to this production that those of us lucky enough to see him in SpeakEasy Stage Company’s “Once on this Island” have already experienced. His Dr. Pinch, the Rastafarian herbal “doctor,” is a show-stopper.

Anderson Stinson, III is all sinew and smiles in his many roles, shining as Antipholus of Syracuse. DJ Whysham strikes all the right beats and Victoria Omoregie rises to the challenge of her many character and costume changes.

Notwithstanding its gratuitous sexism, misogyny and anti-LGBTQ+ rhetoric (and a truly baffling and unforgivable antisemitic portrayal of a Jewish jeweler), the play is worth seeing for its high-energy, rowdy fun and for showing us what hip-hop and rap in the right hands can produce: a unique and exciting contemporary art form. If you listen carefully, you can feel the Bard’s ghostly presence, his sandaled toes tapping out the beats. For tickets and more information, go to: https://www.actorsshakespeareproject.org/

‘The Bomb-itty of Errors’ — Written by Jordan Allen-Dutton, Jason Catalano, Gregory J. Qaiyum, Jeffrey Qaiyum and Erik Weiner. Based on ‘The Comedy of Errors’ by William Shakespeare. Directed by Christopher V. Edwards. Scenic Design by Baron E. Pugh; Costume Design by Zoe Sundra; Lighting Design by Max Wallace; Props Design by Steve Viera, Sound Design by Abraham Joyner-Meyers. Presented by the Actors’ Shakespeare Project at the Charlestown working Theater, 442 Bunker Hill St., Charles through June 26.

BLO’s ‘Champion: An Opera in Jazz’ Tackles Fate, Faith, Forgiveness and Redemption

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by Shelley A. Sackett

Switching gears overnight due to pandemic-related issues, Boston Lyric Opera is to be commended for its recent perseverance and quick-footed adaptability. Instead of offering three performances of “Champion: An Opera in Jazz” as a full opera as rehearsed and planned, the company pivoted to only two concert-style productions with the masked orchestra on stage, costumed chorus in balcony box seats and main performers making do with a sliver downstage.

The only downside to the downsizing was that fewer people were able to experience this ambitious, modern masterwork that brings to life boxer Emile Griffith’s complicated story through a heart-rending melding of music styles and poignant lyrics. By the show’s end — at least in my row — there was not a dry eye. And isn’t that, after all, why we go to the theater and especially to opera? To feel?

The synopsis provided in the playbill is not a spoiler, but an essential guide. The scenes flip from present to past (with the magnificent Brian Major and Markel Reed respectively playing Emile today and during his boxing hey days of the 1960s) and without a roadmap, it’s easy to get lost.

Emile Griffith was not your typical boxer. Born on St. Thomas in the 1950s, he and his many siblings are abandoned by his mother, Emelda. As a youngster, Emile dreams of reuniting with his mother and becoming either a hat maker, a singer or a baseball player. Eventually, he finds her in New York and she introduces him to the hat manufacturer, Howie Albert. But, instead of offering Emile a job making hats, Howie focuses on Emile’s physique and pegs him as a welterweight boxer. He offers to train Emile, and with Emelda’s encouragement (and nose for money), Emile’s artistic dreams fade away.

The trouble is, Emile is gay at a time and in a profession where that is simply not an option. When Benny “Kid” Paret taunts Emile about being a “maricon,” (a Spanish insult for homosexuals) before and during their high-profile match in 1962, it is as if Benny has waved a cape during a bullfight. Emile literally sees red and in seven seconds delivers the 17 blows that will send Benny to the hospital in a coma, where he will die 10 days later.

Emile sits outside Benny’s room those long 10 days, wanting to say he is sorry and begging for forgiveness. His request is denied, and for the rest of his life, that lack of closure will wrack his soul and shake his faith.

Markel Reed, Terrence Chin-Loy and Brian Major from Boston Lyric Opera’s production of “Champion:An Opera in Jazz.”
Courtesy of David Angus, Boston Lyric Opera

Fifty years later, Emile struggles with the chronic traumatic brain injury, the result of “boxer’s brain” and a brutal beating he suffered outside a gay bar. The opera opens as Luis, his caregiver/adopted son/partner, helps dress him, reminding him of a special meeting they are scheduled to attend. Emile’s mind is afloat, uneasily alighting on memories of his fight with Benny and his own beating at the hands of bigots. He is  confused over the smallest action, such as putting on his shoes. He sometimes doesn’t know who or where he is.

Yet during moments of clarity, he remembers his past and the twist of fate that transformed his prized fists into weapons, forever rewriting his legacy from Champion Boxer to murderer.

During these times, he poses some very deep and heart wrenching questions.

“What makes a man a man; the man he is?” Emile wonders. “Who is this man who calls himself me?” Resigned to a life where redemption is beyond his grasp, he accepts his fate, believing he deserves it. “I go where I go,” he explains.

Blanchard’s music keeps the audience riveted and guessing as he winds from the full-throated operatic to slinky, smoky note-bending jazz to a gospel-tinged chorus to a N’awlins style second line. It’s the musical analog to Alvin Ailey’s “Revelations.”

The cast relishes every note. Baritones Major and Reed are nothing short of spectacular as Emile, both as actors and opera singers. Major is a big guy (think Paul Robeson), yet he controls that physicality to appear graceful and vulnerable. Reed is his foil, a compact pretty boy, all sinew and chartreuse satin. And man, can these guys sing.

The rest of the cast are equally noteworthy, from Tichina Vaughn as Emelda to Terrence Chin-Loy as Benny, Jesus Garcia as Luis, Stephanie Blythe as Kathy and Wayne Tigges and Neal Ferreira as Howie and the Ring announcer.

At the end of the day, however, we can’t help but wonder how Emile, in hindsight, might answer this question: was it worth it?

“Champion: An Opera in Jazz.” Music by Terence Blanchard; Libretto by Michael Cristofer. Music Direction by David Angus; Music Conductor – Kwamé Ryan; Set Design by Sara Brown; Costume Design by Trevor Bowen; Lighting Design by Marcus Doshi. Produced by Boston Lyric Opera at the Emerson Cutler Majestic Theatre, 219 Tremont Street, Boston. (Run has ended)

Swampscott mother connecting hungry babies with donated formula

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Keiko Zoll singlehandedly launched a nationwide site to match those needing baby formula with donors. Photo: Steven A. Rosenberg/Journal Staff

By Shelley A. Sackett

SWAMPSCOTT — Until her mom, who lives in New Jersey, casually mentioned the nationwide baby formula shortage to Keiko Zoll, news of the crisis was not on her radar. While Zoll was aware of the Abbott formula recall in February, as the mother of a 9-year-old son she hadn’t given it a second thought. “Recalls happen all the time,” she told the Journal, “and I’m a bit removed from the early parenting space.”

Sitting in her car, the nonprofit communications professional tuned into a podcast, “The Baby Formula Crisis,” to learn more. What she heard left her shaken and sobbing in her Swampscott driveway.

Story after story of mothers going to desperate lengths just to feed their babies unleashed memories of what it was like for her when her son was born six weeks prematurely and she had to locate a specialty formula that was critical to his survival and hard to find. She couldn’t imagine what it would have been like to deal with the added stress of a nationwide shortage at the same time.

An interview with a mother ready to pay hundreds of dollars for a single can of formula was Zoll’s tipping point. “As a mother, as a human being, how could anyone not empathize with these women?” she said. “For me, knowing there are babies who may die if they don’t receive the formula they need to survive – it was just too much.”

She knew she had to do something. That night, after her work as director of communications for the Boston Schools Fund, she started building a website to connect families who need formula with those able to donate it.

Just before midnight on Friday, May 13, the Free Formula Exchange website went live. Zoll emailed 300 personal and professional contacts in her network announcing its launch. By the end of the first week, there were 10,000 requests and 1,000 donors from all over the country.

“While this platform doesn’t increase the supply of formula, it does leverage existing supply that most people don’t realize they have access to,” she said.

Zoll and her son in 2013. The baby was born six weeks premature.

Zoll said she was outraged and disgusted by reports of people price-gouging formula online. She emphasized that freeformula.exchange is 100 percent free. Users must create an account to access its database, but no money exchanges hands.

“It was important to me to design a solution that removed the marketplace from the transaction. Cost shouldn’t be a barrier to feeding children.”

Zoll is no stranger to rolling up her sleeves when it comes to helping others. She is a founding member of the Swampscott Antiracism Caucus and helped organize March Like a Mother for Black Lives in Boston in June, 2020, in the wake of the killings of George Floyd, Breonna Taylor, and Ahmaud Arbery. She has volunteered extensively for and served on the board of RESOLVE New England, a nonprofit supporting those struggling with infertility.

She is also a member of the Tzedek LaKol: Justice for All committee at Congregation Shirat Hayam in Swampscott, where she sits on the temple’s board of directors.

Zoll emphasizes that her experiences as a biracial woman have informed her activism throughout her adult life. “I know what it feels like to be unseen and unheard,” she said, referencing the bias, discrimination, and marginalization she has encountered

In addition, her personal values, which “exist at the intersection of Jewish belief and Japanese tradition,” have strongly influenced her volunteerism. She credits the Jewish emphasis on tikkun olam (repair the world) and the Japanese cultural belief known as wabi-sabi (an acceptance of the imperfection of life) as major guiding forces.

“My worldview settles into a comfortable space between these two beliefs: one that accepts our human flaws and also fights for just causes.”

Zoll knows firsthand how draining and overwhelming the onslaught of negative news can be. “It’s especially hard to be a parent in America right now. There are so few systemic supports and inequities abound,” she said.

She urges everyone who can to help out with the nationwide baby formula shortage, whether by scouring stores for formula to donate or simply providing a compassionate ear or shoulder or hug to support those parents who are totally stressed out.

“There are many ways we can all practice chesed (acts of loving-kindness) to our fellow humans in their time of need,” she said.

For more information and to request or donate formula, visit freeformulaexchange.com or follow @FormulaExchange on Twitter, Facebook, and Instagram.

Marblehead teen runs the Zoom camera at Shirat Hayam

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Lucas Rosen at Congregation Shirat Hayam in Swampscott

By Shelley A. Sackett

SWAMPSCOTT — Although formal Hebrew School technically ends after grade 7 and a bar or bat mitzvah at Congregation Shirat Hayam, many teens still want to remain involved in synagogue life. One way is through the Center for Jewish Education Madrichim (counselor or leader) Program. By helping out in the Shirat religious school lower grades, these teens serve as role models for the younger students as they continue to learn and grow.

Marblehead eighth-grader Lucas Rosen, however, has found his own way to combine staying connected with his love for video editing, and it is a win-win for both Lucas and CSH. Every Friday night and Saturday morning, he runs the Zoom that allows congregants to enjoy services from the comfort of their homes. His is also the friendly face that sits at the front doors, greeting those coming to services in-person, and checking their Covid vaccination cards.

Lucas, whose parents are Amanda French and Noah Rosen, says he started video editing when he was younger because he wanted to make “really good” YouTube videos and realized he lacked the editing skills and experience to make that happen. The problem was, he didn’t have anything to practice with because he lacked motivation to record his own videos. Then, the pandemic struck in 2020 and for Lucas, its silver lining was the desktop computer he received.

With more powerful and sophisticated programs now at his fingertips, his love for video editing suddenly flourished when people who needed edited videos asked him for help. Soon, he had a cache of material to work on.

He also “really got into gaming” and started doing observation for a video league he played in, essentially becoming the cameraman for video game matches. “I really enjoyed the virtual camera work. Doing it in real life seemed like the next step,” he said.

That opportunity arose when CSH President Ruth Estrich suggested that Perry Hallinan, whose team livestreamed Shirat’s High Holy Day services in 2000 and 2001, ask Lucas if he wanted to help his crew film this year’s Purim Spiel.

Although Lucas had plenty of video experience, he had never gotten behind a real camera until Purim. Hallinan spent an hour teaching him how to operate the 70-200mm lens camera, which easily slips out of focus. “It was nerve wracking. I was stressed I was going to mess something up and ruin it,” he said. Over 150 people packed the synagogue and Lucas says he kept thinking about how many more would watch the finished product.

Rabbi Michael Ragozin (left) and Lucas Rosen (rear wearing a red mask) during Shirat Hayam’s Purim Spiel

His camera station was at the back of the sanctuary, where he recorded the wide establishing shot to capture the action on stage. After 15 minutes or so, he felt like he had the hang of it. “Perry was very nice and trusted me to do things correctly. He didn’t control my every move,” Lucas said.

Hallinan, who has mentored many high school students throughout his career, was impressed by Lucas. “It was great to see Lucas be very present while recording the Purim celebration. He was able to engage with the community through filmmaking, and that was very cool to witness,” he said.

Hallinan has worked as a documentary filmmaker since graduating from Rhode Island School of Design in 1998, primarily with independent teams of filmmakers. His recent projects have included educational films about the importance of watershed systems in Salem and Manchester-by-the-Sea; training films for regional municipalities, and short films about telehealth medicine for the Veterans Administration and American Legions.

He also created the Salem Sketches Program with filmmaking colleague Joe Cultrera for the all-documentary Salem Film Fest, and teaches film production classes at the Phoenix School and Peabody Essex Museum. He is a series editor for PEM’s podcast and an independent editor on a series of films for the Basketball Hall of Fame for Boston-based Northern Light Productions (NLP).

“I’m always looking for new areas to explore where I can bring my talents as a storyteller to make an impact,” Hallinan said.

His first boss in the business was Shirat congregant and Swampscott resident Lenny Rotman, who is senior producer at NLP and recommended Hallinan for the High Holy Day jobs. “The introduction to the Shirat Hayam community opened up an unexpected area for me – to live broadcast a spiritual community into people’s homes. Who would have thought that a pandemic could create a meaningful bridge like this?” Hallinan said.

Hallinan looks forward to working with Lucas during the Purim editing process. With footage from three cameras, there will be plenty of material to choose from to tell the story. “The editing stage takes a lot of patience and focus, and Lucas has that,” he said.

Lucas hopes to take an editing-related elective next year at Marblehead High School. “This was a good next step in my filming/editing journey,” he said, adding that he hopes more opportunities with Hallinan await him at Shirat.

Hallinan sees the work he does with students as a way to give back to the community and share tools and basic skills with young people. “With all these projects, the commonality for success is in building relationships,” he said.