Tags Posts tagged with "Jeffrey Sanzel"

Jeffrey Sanzel

By Daniel Dunaief

Brian Hoerger saw the doors bowing inward. A deluge of about 4 inches of rain in an hour or so in Port Jefferson on Sept. 25 sent a river of water toward Theatre Three, which was holding auditions for “A Christmas Carol” and was preparing to share “The Addams Family” a few days later.

Brian Hoerger in front of Theatre Three

The doors and nearby windows were no match for water that came flooding in, submerging a lighting board, damaging props and leaving tens of thousands of dollars in damage.

Hoerger, the facilities manager at the theater founded in 1969, sprang into action, salvaging what he could, removing what was unrecoverable and stabilizing the situation enough that he could leave around midnight and return six hours later to continue the cleanup effort.

To hear his friends tell it, Hoerger’s response, which included coordinating more than 50 volunteers and prioritizing a way to get the theater back in action just a few days later, is typical of a man committed to the community.

Hoerger has “an unparalleled devotion to helping others,” said Mollie Adler, who attended high school in Port Jefferson with him. “He’s always been extraordinarily helpful.”

In response to the devastating water in the building, Hoerger “worked nonstop,” said Jeffrey Sanzel, executive artistic director of Theatre Three. “He was physically cleaning, he was supervising the things that had to be thrown out and he was dealing with a lot of the main stage electrical stuff.”

Margot Garant, mayor of Port Jefferson, recalled how she and Hoerger were “knee deep in the water,” and that he “goes above and beyond” with his lighting expertise.

“You call him, and he’s always there for you,” she said.

Hoerger was involved in setting up the rental for the replacement of the dimmer rack, which provides the stage lighting.

“He put the theater first, and he put the needs of the staff and the cast that was running in ‘The Addams Family’ first,” Sanzel said. “He stayed positive the whole time. He was always available.”

Hoerger wasn’t involved in much theater. A friend from when the two of them were 5, Eric Cherches, who was then a board member at Theatre Three, suggested that Hoerger give the theater a chance when he returned to Long Island in 2014.

Hoerger said he was hooked, especially by the production of “Sweeney Todd.”

“It was a great show, and the talent was amazing,” recalled Hoerger, who has helped with lighting, carpentry and building sets. While the Theatre Three cast and crew appreciate all he does to support them, he has also built up a reputation as a cook.

Beyond his work with Theatre Three, Hoerger has contributed in numerous other ways.

He pitches in with prom decorations.

The downstairs of Theatre Three after the flash flood. Photo by Kyle Barr

“Little kids will accompany their parents to work on the prom for older siblings or cousins,” said Cherches, a lawyer at the Law Offices of Eric D. Cherches in Port Jefferson. “Everybody knows [Hoerger]. He has a way of making everybody a friend.”

Hoerger has been helpful to Adler, who has had three surgeries for breast cancer and is a single mom dealing with significant financial challenges.

“My house was falling apart,” Adler said. “He helped organize a group of guys we went to school with” to come repair holes in the deck, to paint her door and to repair other problems.

Adler bakes Miss Mollie’s Brownies to support herself and her family. Hoerger brought her brownies into Theatre Three, which shares in the profits for the baked goods.

In addition to the many roles Hoerger has played at Theatre Three, which also include serving as a photographer, the organization has offered him a chance to stand in front of the lights he ensures are working. Sanzel asked Hoerger if he’d be willing to play the role of Mr. Fusco, the hardware store owner in “Saturday Night Fever.”

“That’s not my thing,” Hoerger said. “I enjoy watching the shows and being behind the scenes.”

Hoerger’s colleagues at Theatre Three appreciate his preparation and contributions in the moments when torrential rains don’t hit.

“Any time there’s a chance of heavy rain, he is out there with his pump and hoses snaked around the parking lot,” said Vivian Koutrakos, managing director at Theatre Three. “I’m more impressed with that” in those moments “when we’re not calling on the world to come help us.”

Bringing his childhood friend to the group was “the best thing I did during my almost 10 years on the board,” Cherches said.

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Jude Law and Eddie Redmayne star in ‘Fantastic Beasts 2.’ Photo courtesy of Warner Brothers

By Jeffrey Sanzel

The thirty minutes prior to seeing “Fantastic Beasts: The Crimes of Grindelwald” were taken up with trailers for movies that were almost exclusively CGI. One film after another displayed a visual and auditory assault of effects. This was an appropriate herald to the main attraction.

The latest addition to the Potterverse is a hodgepodge of characters too numerous to mention — and, in the case of the script — too numerous to develop. Several plots (and what seems like myriad subplots) wander around the two hours and fourteen minutes of playing time.

Eddie Redmayne in a scene from the movie. Photo courtesy of Warner Brothers

Vaguely at the center is Eddie Redmayne, returning from the first film, as Newt Scamander, an expert in exotic magical creatures.  Redmayne has created a character that mumbles and meanders his way through the story to the point where the audience wants to scream  “Please make eye contact with anyone!”

The first film, “Fantastic Beasts and Where to Find Them,” had a benign whimsy with dark edges. The newest entry is basically a mess of hidden secrets and a very frightening look at fascism through the actions of the titular villain (played by Johnny Depp, alternating restraint and scenery-chewing) as a budding Hitler — complete with a chilling nod to the Nuremberg Rally.

There are other villains and half-villains; there are holdovers from the first film; and there are new characters with shifting or surprising allegiances. In short, there are just too many characters. This would all be well and good if the movie had a modicum of charm. It plods, alternating between grand effects and brooding close-ups.

Director David Yates has directed much of the film like it’s ready to be the newest ride at Universal’s theme park.  Visually, it is stunning and the designs are striking but the center is hollow. There is a lack of depth and the actors are left to play with little-to-no dimension. 

Sadly, blame must go to Potter creator J.K. Rowling, who is credited with the screenplay.  The Harry Potter books are works that will endure as great literature. The world Rowling created was populated with people whom we grew to know, care about, and, ultimately, love.  There was honesty and humor, and, most importantly, humanity.   

Unfortunately, she brings very little of this here and seems to contradict or reinvent elements that were part of and at the heart of the series. Even the glimpses of Hogwarts and Jude Law’s Dumbledore seem foreign in this setting.

Finally, we are left with what feels like a very long set-up to the next film. Rowling has announced that there are three more films to come. We can only hope that she finds the magic that was so lacking in this sophomore outing.

Rated PG-13, “Fantastic Beasts: The Crimes of Grindenwald” is now playing in local theaters

By Heidi Sutton

Barnaby, Santa and Franklynne in a scene from the show.

This weekend the Village of Port Jefferson will celebrate its 23rd annual Charles Dickens Festival. Among the many events to attend this year will be Theatre Three’s production of “Barnaby Saves Christmas.” Written 15 years ago by Douglas Quattrock and Jeffrey Sanzel, the adorable musical, with its wonderful score and dance numbers, is the perfect way for families with young children to kick off the holiday season.

It’s Christmas Eve at the North Pole and Barnaby, the smallest elf in Elf School, is busy making a toy that Santa requested — a little stuffed bear with dark blue pants, buckles on his shoes and a bright yellow vest. When he realizes that Santa has left without it, he enlists the help of Franklynne, the littlest reindeer, to track down Santa and give the toy to him.

S.B. Dombulbury is up to his old tricks again!

During their adventures they meet Sarah and Andrew who teach them about Hanukkah and the Festival of Lights. They also bump into the sneaky S.B. Dombulbury and his henchperson Irma who are trying to ruin Christmas by stuffing all the chimneys with coal.

As director, Sanzel has assembled an outstanding cast to convey the story.

Eric Hughes returns for his third year as Barnaby, perfectly capturing his character as just wanting to fit in, and Michelle LaBozzetta tackles the role of Franklynne (It’s spelled with two n’s and a y — that makes it a girl’s name!) with just the right amount of spunkiness one would expect from a flying fawn. Andrew Lenahan is incredible in the dual role of Santa and Andrew, and Ginger Dalton is charming as both a slightly confused Mrs. Claus and Sarah.

Nicole Bianco and K.D. Guadagno play Crystal and Blizzard, two of Santa’s elves who are constantly hypnotized by S.B. Dombulbury to help him carry out his evil plan and at one point chase Barnaby and Franklynne through the audience like zombies in one of the funniest moments in the show. As a special treat, Jason Furnari, who originated the role of Barnaby, plays Sam the stressed-out head elf. However, it is the comedy tag team of Steven Uihlein as S.B. (spoiled brat) Dombulbury and Dana Bush as Irma that steal the show with their many antics. Their journey to redemption is heartfelt.

Santa’s elves, Barnaby, Sam, Blizzard and Crystal

The nine songs, accompanied by Quattrock on piano, are delightful, with special mention to “Miracles” and “Within Our Hearts.” The costumes, designed by Teresa Matteson and Toni St. John, are fun and festive as is the choreography by Bianco, and the special effects through the use of lighting is magical.

With the underlying message to “be the very best you can be,” “Barnaby Saves Christmas” is a beautiful story of hope, miracles and love. Don’t miss this one.

Souvenir elf and reindeer dolls will be available for purchase during intermission. Stay after the show for a photo with Santa Claus if you wish — the $5 fee goes to support the theater’s scholarship fund — and meet the rest of the cast in the lobby. Running time is one hour and 10 minutes with one intermission. Booster seats are available.

Theatre Three, 412 Main St., Port Jefferson will present “Barnaby Saves Christmas” through Dec. 29. Children’s theater continues with “Jack & the Beanstalk” from Jan. 19 to Feb. 23. All seats are $10. To order, call 631-928-9100 or visit www.theatrethree.com.

All photos by Peter Lanscombe, Theatre Three Productions Inc.

Reviewed by Jeffrey Sanzel

“Not to brag (well, this is my story, so I guess if I’m going to brag, this is the place to do it, right?) but my house is the most beautiful, most magical, most jaw-droppingly fabulous place in the world …”

So begins Jenna Gavigan’s charming young adult novel “Lulu the Broadway Mouse,” appropriately subtitled “Tiny Dreamer. Big Dream.” And what is the protagonist’s house? It is the Shubert Theatre, located at 225 West 44th Street in New York City. Here is where the sassy young mouse and her family work and reside.

Jenna Gavigan

Gavigan made her Broadway debut as a teenager in the 2003 “Gypsy” revival, which starred Bernadette Peters. It is clear that Lulu is both a celebration of the author’s experience as well as a peek behind the curtain. “Show business is an uncertain path full of highs and lows, hills and valleys, sunshine and clouds … but still …” The tale (tail?) paints a picture of a theater world that is both exciting and challenging, full of rewards and disappointments — but, most of all—lessons in life.

Lulu works with her mother in the wardrobe department and has one goal:to perform on a Broadway stage. While it’s a daunting proposition, she is a wonderful role model of inspiration and drive:

“Here’s the thing, though. In case you’d forgotten. I know I’m eloquent and funny and it’s easy to forget … I’m a mouse. A darn cute and talented one, but, well mice can’t be on Broadway. At least, none of us ever have been. I know it’s not fair. It’s just the way it is. True, plenty of things never happened until they did. No one had ever walked on the moon until that Neil Armstrong guy did it.”

Lulu we learn (like all mice) can talk. “We can talk everywhere … but so far, only theatre people listen.” Gavigan creates a mythology with the story of a seamstress, Bet, who befriends Poppy, the first mouse ever to work in the building. It is a wonderful story in the narrative’s rich tapestry. “These mice are here to help us,” says Bet. “They’re our coworkers, not our enemies.” 

Lulu’s world is populated with a winning variety of characters including the stage manager, the child wrangler, the dance captain, backstage staff, actors and, of course, the show’s star, the regal-yet-kind Stella James. “What’s important is to remember that it takes a team, a village, a family to put on a Broadway show and take care of the theatre.” Here is the bustle of theater life, the demands of rehearsals and the excitement of performance. And we are appropriately reminded that it is not just the performers but everyone from box office to backstage who make the magic.

Driving the story is the arrival of young and diminutive Jayne, the new understudy for the show’s child star, Amanda. Amanda is the epitome of selfish and self-absorbed; she is a bully and a manipulator.  “Sometimes dreams come with terms and conditions. Sometimes dreams come with Amanda.” But Gavigan ultimately presents a dimensional character, whose harshness is rooted in a deep-seated insecurity.

What ensues in this enchanting work and how Lulu pursues her dream make for an eventful and engaging journey: “Because everyone — no matter what size or species — deserves to live their dream.”

While the book will be embraced by children (and adults) with a passion for theater, the lessons that are offered are universal and told in a way that all readers will embrace the joy that is both the heart of Lulu and Lulu the Broadway Mouse.

Recommended for middle school readers, “Lulu the Broadway Mouse” is available at your local Barnes & Noble bookstore; can be ordered at Book Revue in Huntington; and is online at Running Press Kids, Hatchette Book Group; Barnes & Noble; and Amazon. For more information on the author, visit iamjennagavigan.com and on Twitter and Instagram @Jenna_Gavigan.

Comedy fundraiser

Chris Roach will join the group on Nov. 3.

Long Island Comedy Festival will host a special Stand-Up Comedy fundraiser at Theatre Three, 412 Main St., Port Jefferson on Saturday, Nov. 3 at 8 p.m. to help the beloved theater recover from recent flash flood damage. Comedians from around the country will be flooding the Theatre Three stage including Talia Reese, Jamie Gravy, Maria Walsh, Michael Somerville, host Paul Anthony and, just announced, Chris Roach. Tickets are $39 per person. To order, call 631-928-9100 or visit www.theatrethree.com.

 

  • Comedians from around the country will be FLOODING the Theatre Three stage!
  • The audience will experience a WAVE of Laughter & hilarious fun!
  • RUSH IN to get your tickets to this outrageous night of LIVE Stand-Up Comedy!

 

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The cover of Dineen's novel

Reviewed by Jeffrey Sanzel

In his novel, “Suburban Gangsters,” Michael P. Dineen paints a bleak picture of the drug dealing/criminal culture on Long Island, spanning the 1980s right through the War on Drugs of the 2000s. And while Dineen is dealing with a difficult and often ugly story, he has managed to create an engaging and occasionally darkly humorous chronicle.  

Clearly, the book is a fictional account of his own life, told first person through Huntington resident Patrick Hunter. While Hunter was born in New York City, he was raised on Long Island. And while his experience focuses mainly on the drug dealing issues that were faced locally, he tells a universal story.

Hunter is the son of a cold and demanding Army vet and New York City firefighter. He starts off as an athlete but strays from the path. He can trace the turning point to his father refusing to co-sign a car loan for him. “Had my conversation gone differently with my father in the spring of 1985, I may have never become a criminal.” By his junior year, it is this deep-seated anger with his father that turns this jock into a burnout and juvenile delinquent.  

The cover of Dineen’s novel

A combination of intense training and steroids also fuel his rage and anti-social behavior. He and his friends “trained like animals” in this hybrid martial art called American Combat Karate. His change in personality draws him to like-minded and like-feeling young people. He begins using cocaine and then successfully selling it. “I had no clue that we had just opened Pandora’s box.” This metaphor points to the perils that follow. 

Dealing out of his home, Hunter could clear $5,000 to $10,000 a week. “For being average kids from the suburbs, that was serious dough. And we were just starting to scratch the surface of this modern-day gold rush.”

It’s not long before the enterprise begins to grow: “Settling into a nice routine, we began expanding the scope of our business. In addition to selling cocaine, we were now selling steroids, pain pills, other pharmaceuticals, and even small amounts of marijuana. And we also began some small loan sharking.”

Hunter gives an unflinching description of the toll that cocaine and crack cocaine have taken on the community. Throughout the book, there are devastating reports of destruction — both of people and property. (A wilding incident secures his gang’s creed but also called them to the police’s attention.) It is a brutal world where the anger and danger manifest in violent and senseless brawling. The only loyalty in this cutthroat existence is to money. There are many stories here of drug users that involve beatings and worse.  

His life is populated with equally damaged souls. When he falls in love, drugs predictably complicate his life. His girlfriend (and later wife), Vanessa, is a cocaine user and later addicted to pain pills. He shows that there is no emotional security when dealing with an addict. Love may blur the problems but it won’t make them go away. His partner, Jake, is a study in contrast. Jake is a high risk-taker and that causes a much earlier fall than Hunter. Even those who are committed to him in their own way are a liability in this hard society.  

The first shift is when dealers begin making deals with the police and FBI. As they begin to roll over, it becomes an era defined by survival. The narrative refrain is to “trust no one” as the likelihood is betrayal. His life alternates between dealing and partying and hiding and running.

Throughout the narrative, Hunter addresses issues of karma. The fact that he is the one who hooks Vanessa on Percodan (and eventually she goes back to cocaine) is just as much his fault as hers. There is the overall ruin that visits all who are involved. “When you are caught up in the hustle game making easy money, it’s almost impossible to voluntarily stop. It’s just as hard to stop dealing drugs, as it is to stop using drugs. Making that money becomes just as addictive.”

In addition to the drug world, there is theft. A gang called the Crash and Carry Gang are featured throughout. A highly dangerous crew that steals and fences, the intersection of Hunter and these men only furthers his twisted existence.

After a number of years, Hunter shifts his dealing to only selling marijuana and becoming a police informant. This gives both security and the ability to rat out the competition. He and his second partner, Big Ray, make a fortune while serving as police informants:

“We just finished a two-year run of basically being able to deal drugs with police protection. Our involvement with them and setting up that huge bust allowed us to operate while they looked the other way. It may sound crazy, but it’s true. Had you told me back in 1985 that seven years later I would still be dealing, only acting as a double agent by being a federal informant, I would have said you were nuts. But that is the insanity of this lifestyle. If you weren’t smart enough to roll with the changing times, you would have the life expectancy of a housefly.”

The fact is, by this time, everyone was either being caught or flipping. Everyone with whom Hunter had been involved was either cooperating or in jail.

Through all of this, glimmers of Hunter’s humanity come through. There is a poignant account of the death of a friend to heroin overdose (one of many in his journey).  

His love for the daughter he has by Vanessa and his fear for her safety is also very honest. The devastating loss of his karate mentor coincides with the dissolution of his marriage.

And in 1998, Hunter gets hooked on painkillers. The final portion of the book, entitled “To Hell and Back,” is the ultimate karmic payback. He begins the section with an unflinching assessment of the opioid and heroin crises: 

“The painful truth is no one seemed to care when heroin was devastating the inner city minority neighborhoods. Now that Little Johnny and Suzy from the bourgeoisie started dying, people finally started taking notice. That is politics for you. … For years, my fellow criminals and I cashed in on the suffering and unquenchable desire of a population that demanded drugs. It was almost like taking candy from a baby, it was so easy. But now the universe was about to flip the script and teach me a punishing lesson, you reap what you sow.”

While he began with a pill addiction, like so many, Hunter shifted to heroin because it was both cheaper and more accessible. His own downfall is inevitable:

“[H]eroin became the new love of my life. It was a total obsession for me. My habit became enormous overnight. Within a few weeks, I was sniffing twenty bags or two bundles a day. This continued for about three months until [his dealer] just up and disappeared. Now unable to get it, I began to panic. Withdrawal began creeping in and I was miserable.”

What ensues is a circle of detox, followed by relapse, methadone clinics, jail, homelessness … There is a harrowing observation that after 9/11, dopers thoughts were only how would they get their fix? And, of course, the question of how did he get here haunts him: He went from a million dollar drug business to being a junkie with nothing to his name. It is not until 2008 that Hunter is finally drug free and has his life on track.

In the beginning, Dineen writes with wonder at his often good luck … and later is accepting of his ultimate fate. In the end, he reaches both a sense of self and responsibility. His final thought is an important warning:

“So let this be a cautionary tale to anyone who is thinking about embarking on a life of crime or being involved with narcotics. There is no riding off into the sunset, no Hollywood endings when it comes to drug and crime. You will be lucky to escape with your freedom, and most importantly, your life!”

“Suburban Gangsters” by Michael P. Dineen is available online at Amazon.com or from its distributor AT www.dorrancepublishing.com.

JAZZ HANDS The cast of 'A Kooky Spooky Halloween'

By Heidi Sutton

With Halloween just around the corner, Theatre Three has all the bases covered. While mature audiences enjoy a creepy and spooky “The Addams Family,” young theatergoers can have fun as well with an adorable show titled “A Kooky Spooky Halloween.” The original musical written by Jeffrey Sanzel and Steve McCoy returns to the theater for the second year in a row through Oct. 27.

A scene from the show

The story centers around a friendly ghost named Abner (Steven Uihlein) who has just graduated from Haunting High School and is given a medallion of invisibility. Abner is immediately assigned to haunt Aberdeen’s Boarding House, famously known for being the most haunted house in Harrison County U.S.A and for serving the best toast. There are only two rules he has to follow — he can only haunt at night and he can’t lose the medallion or he’ll be seen by the living.

But Abner has a secret — he is afraid of the dark, which is “like a vampire who’s afraid of necks!” according to his best friend Lavinda the Witch (Michelle LaBozzetta). She promptly gives him a night-light to wear and promises to help him with his haunting duties.

When Abner and Lavinda arrive at the boarding house, they find Ma Aberdeen (Ginger Dalton), the finest toast maker in the land, and her boarders, Kit Garret (Nicole Bianco) and the Petersons — Paul the periodontist (Andrew Lenahan), his wife Penelope (Chrysovalantou Tsoumpelis) and their son Pip (Eric J. Hughes), whose alliterations using words that start with the letter P are positively perplexing, in the kitchen getting ready for Halloween.

When Pip puts on a pumpkin pullover and starts to tell pumpkin jokes (okay I’ll stop), Abner puts a speed spell on the group, making them stuff Halloween goodie bags, do jumping jacks, quack like a duck, sing and dance in fast motion. He then casts a spell to make them get stuck to each other.

Abner casts a speed spell

In a sudden twist of events, fellow graduate and ghost with a grudge Dora Pike (Beth Ladd) shows up and steals Abner’s night-light and medallion of invisibility and hides them in Black Ridge Gulch, the deepest, darkest gorge in the entire world (where it’s really, really dark). Now visible, Abner must try to convince the boarders, who are still stuck to each other, to help him and Lavinda get his property back. Will they help him? And will Abner be able to overcome his fear of the dark?

Directed by Sanzel, the eight-member adult cast delivers an energetic performance that touches on the power of friendship and the importance of helping others.

Accompanied on piano by Douglas Quattrock and choreographed by Bianco, the song and dance numbers are terrific, especially “Into the World I Go” by Abner, the downright creepy “It Will All Fade to Black” by Dora, the sweet “A Witch Is a Person” by Lavinda and the fun group number, “It’s Ma Who Makes the Toast.”

The end result is a hauntingly fun afternoon that children and parents will love.

Snacks and beverages are available for purchase during intermission and booster seats are available. Costumes are encouraged and souvenir cat, pumpkin, vampire and ghost dolls will be available for purchase before the show and during intermission for $5. Meet the cast in the lobby for photos on your way out.

Theatre Three, 412 Main St., Port Jefferson will present “A Kooky Spooky Halloween” through Oct. 27. Children’s theater continues with “Barnaby Saves Christmas” from Nov. 23 to Dec. 29. All seats are $10. To order, call 631-928-9100 or visit www.theatrethree.com.

All photos by Peter Lanscombe, Theatre Three Productions Inc.

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The cover of Pielmeier's latest book

Reviewed by Jeffrey Sanzel

“Everything you think you know about me is a lie.”

This bold claim is made by the author, one James Cook, born Feb. 23, 1860 — the Man Who Will Be Hook. It is an appropriately provocative statement as what follows is an extraordinary account that is so beautifully crafted it rings true. It is an epic, engaging and profound journey.

Taking a famous story and its characters and presenting them from a different perspective is a delicate and difficult task. More often than not, these attempts miss the mark. The exceptions (Gregory Maguire’s “Wicked,” Tom Mula’s “Jacob Marley’s Christmas Carol”) are few. We can joyously welcome to this short list John Leonard Pielmeier’s remarkably entertaining “Hook’s Tale: Being the Account of an Unjustly Villainized Pirate Written by Himself.”

While honoring J.M. Barrie’s source, “Peter Pan,” this is an entirely unique universe, told eloquently with candor and avoiding the pitfalls of preciousness. The book is both humorous and heart-breaking in turns and results in a portrait of the titular character that is memorably dimensional.

The novel explains how both the captain’s hook and Captain Hook came to be. The narrator begins with a detailed account of his emotionally dark and complicated childhood (shades of David Copperfield), a boy living in the shadow of an absent father and whose mother’s complicated history is gradually brought to light. An unfair expulsion from Eton sets his course, being drugged and impressed into naval service at 14 years old. Cook’s odyssey to Hook begins here.

At the center of the tale is the contrast of the man (Hook) and the child (Pan). It is a sharp account of the consequences of actions and the repercussions of retaliation:

My enemy. I refused to write his name, though it is a name well known, oft-illuminated by the gaudy lights of money-raking theatrical houses, where it is exploited for glamour and gain. Wherever his name is lauded mine is hissed. We are forever linked. The same audiences who pretend to save a supercilious fairy’s life by applause either laugh at me as a piratical clown or sneer at me as the Devil incarnate. Children cast the least popular child to play me in the nursery, while their professional counterparts hire histrionic overachievers to portray me. Heavens, what villainy! And all because of a lying tale told by a dour Scotsman that casts him as Hero and me as the Dastardly Villain who would stop at nothing to see him dead.

And yet, Hook makes clear that before they were enemies, they were friends as devoted as brothers. He knows that Peter is what he is: “I forgave him his childish behavior. He was, after all, my first and closest friend, the very best part of myself.”

The cover of Pielmeier’s latest book

Peter is both so innocent as to not understand what a pocket is and how it works, yet, like a child, capable of terrible cruelty. He is doomed to live in the “now.” This is a very different take on “Peter Pan,” finding the reality of what it means to never grow up: “In deifying youth, the Never-Archipelago frees us from the unknown — how marvelous! ‘You will never grow old’ promises delight; ‘You will never be different’ sounds like a punishment.”

What passes between James and Peter is the driving force of their story leading to Hook’s desire for revenge:

The remarkable thing about revenge is that it doesn’t pretend to be anything other than what it really is. There’s no false altruism involved, no lessons to be taught, no fortune to be gained, and more often than not, it has terrible consequences for those who seek it out. It’s a complete mystery to me why it is so attractive. Yet it is. I admit it. I was drawn to it as if it were a lovely lady (and it sometimes is).

This extraordinary understanding infuses Cook/Hook with a profundity that further shows how complex and yet accessible Pielmeier’s protagonist is. Hook, the narrator, is bravura and melancholy, struggle and hope.

In this world, there is birth and death and yet the laws of physics, geography, astronomy and even time itself are broken and twisted. “Yesterday” and “tomorrow” have different meanings. It is mind-bending and yet completely logical onto itself.  

In the midst of this, many of the images, ideas and characters inhabiting Barrie’s world are threaded in Pielmeier’s distinctively rich tapestry. Here is the fairy dust (flying sand); shadows lost, found and stolen; and “second star to the right.” Tink the fairy and the Darling family take their places in new and innovative ways. A cast of buccaneers, headed by the kindly Smee (the boy’s first and true shipboard friend and the one who dubs him “Captain”), populate a world that is shared with the mermaid lagoon (signaling the boy’s burgeoning sexuality), wrestling bears and other marvels.  

The young James’ great romance is Tiger Lily, beautiful and brave, noble from a noble tribe, whom he tries to describe but stops short with the simple yet telling “please picture the first love of your life. She was as beautiful as that.” Pielmeier lands gently on these divine truths.

 Like any great pirate yarn, there is a great deal of adventure. A hidden treasure map leads to mutiny “with buckets of sea water mixed with oceans of blood.” There is a secret monster living in a Deep Well and a sea battle that ends with a Viking Burial.

The crocodile (named “Daisy” for Hook’s mother), well-known in the Peter Pan oeuvre, is so much more, her place in the story revealed in one of the most innovative and creative strokes in a novel full of imaginative flights.

There is a clever and delightful exchange between young James Cook and Peter when they first meet. It is a hilarious dialogue about baptism and the end of time. It is wide-eyed and innocent and yet pointed and shrewd. These charming moments are interspersed in a driving and thrilling narrative that weaves a mystery intertwining the entire company.

The book not only encompasses Barrie’s world but there are nods to history and literature, ranging from explorer James Cook, the murders in Whitechapel and Poe’s “Tell-Tale Heart.” The references are subtle and enrich the chronicle as no shared incident is without value.

Pielmeier’s writing is visceral. A journey through an underground cave is thrilling and breathtaking in the tradition of great adventure novels. In addition, he has created individuals of great authenticity in a fantastical world. Almost no one is wholly good or bad, but shades of both, often alternating within the same beings.

The conclusion joins all of the pieces in a satisfying, cathartic and touching resolution. 

While this marks Pielmeier’s debut novel, he is a gifted playwright, author of one of the most important and powerful plays of the last 40 years: “Agnes of God.” It is no surprise that he should prove equally successful in this genre. This will certainly be the first of many such works and let us hope for another visit to his unique vision of Neverland and its environs.

“Hook’s Tale” is a remarkable book, one that will sit proudly on the shelf occupied by the original “Peter Pan” itself. “I am stuck with the Truth,” writes Hook, “and the Truth is neither nice, clean, nor simple.” But, in Pielmeier’s hands Hook’s “Truth” is unflinching in its heart and inspiring in its humanity.

‘A Hook’s Tale’ is available online at Simon & Schuster, Barnes & Noble and Amazon. For more information on the author, visit www.johnpielmeier.com.

The cast of 'The Addams Family'. Photo by Brian Hoerger

By Heidi Sutton

Halloween is still a few weeks away, but there’s something creepy and kooky and altogether spooky going on at Theatre Three that’s not to be missed.

The theater opens its 49th season with the musical comedy “The Addams Family,” a nostalgic trip down memory lane for fans of this atypical clan, and judging by the packed house on opening night, that amounts to quite a few.

Created by Charles Addams, the lovable, albeit macabre, family first appeared in a New Yorker comic strip in 1938 but truly came to life in the 1960s ABC television series starring John Astin and Carolyn Jones as Gomez and Morticia. The two film versions in the 1990s paved the way for the Broadway musical in 2010 starring Nathan Lane and Bebe Neuwirth.

The cast of ‘The Addams Family’. Photo by Brian Hoerger

Last Saturday’s opening performance began as it should, with the audience snapping their fingers or clapping their hands to the iconic theme song, and suddenly they appeared — all the familiar, eccentric characters we have all come to love — Gomez (Matt Senese), Morticia (TracyLynn Conner), Uncle Fester (Rick Grossman), Grandma (Ginger Dalton), Wednesday (Jessica Murphy), Pugsley (Max Venezia), Lurch (James Taffurelli) and Thing and Cousin Itt (both played by Cameron Turner). What followed was a fun, wonderful evening of live theater.

Directed by Jeffrey Sanzel, the show opens, most fittingly, in the family cemetery (“Oh the intoxicating smell of the graveyard!”) as the family lets their ancestors out of a mausoleum to celebrate what it is to be an Addams. It is here that we see the first of many “Thriller”-inspired musical numbers, expertly choreographed by Nicole Bianco, that dominate the show.

The storyline revolves around Wednesday who is all grown up and has fallen in love with a “normal boy,” Lucas Beineke (Matt Paredi) from Ohio (“the swing state!”), and wants to bring him and his parents, straight arrow Mal (Steve Ayle) and the perfectly rhyming Alice (Linda May), over for one “normal night.” She confides in her father that she wants to marry Lucas and makes him promise not to tell her mother yet, putting Gomez in several hilarious sticky situations and leading up to his solo, “Trapped (like a corpse in the ground).”

Matt Senese as Gomez and Jessica Murphy as Wednesday. Photo by Brian Hoerger

Uncle Fester, on the other hand, recruits the ancestors to find out if this is really true love, and if so, to help it along. Dressed in ghostly white costumes, they float in and out of every scene as they spy on the family’s affairs.

As the Beineke family arrive, they are invited to take part in the family game, Full Disclosure, during which everyone takes a sip from a sacred chalice and reveals something they’ve never told anyone. When Pugsley steals a magical potion from Grandma (“One swig of that and Mary Poppins turns into Madea!”) and pours it in the chalice, the evening takes a dark and eventful turn.

Accompanied by an outstanding eight-member band led by Jeffrey Hoffman, the 20 musical numbers perfectly tie the storyline together.   The costumes by Chakira Doherty are wonderful, especially for the ghoulish ancestors, and the Gothic set, cleverly designed by Randall Parsons includes panels that swivel and rotate to reveal different scenery. As the actors sing their solo or duet, they move toward the edge of the stage as the curtain closes, allowing the set to be quickly changed for the next scene.

With exceptional vocals, the entire cast become fully immersed in their individual character. The chemistry between Gomez and Morticia is as alive as ever. Morticia: “I feel darkness and grief and unspeakable sorrow.” Gomez: “I love it when you speak sexy, Cara Mia.” 

Matt Senese as Gomez and TracyLynn Conner as Morticia. Photo by Peter Lanscombe

Although she’s in love, Wednesday’s inner darkness makes several appearances, and Uncle Fester is as lovable as ever (yes, he is still in love with the moon.) Pugsley secretly loves to be tortured (electrocuted to be precise) by his big sister, Grandma is still wacky and Lurch is still grunting; but in the end they are just one big family that has to deal with every day issues just like everyone else.

In his director’s notes, Sanzel sums it up perfectly. “The ultimate message of ‘The Addams Family’ musical is to find out who you are so you can be true to yourself. Whether vacationing in the sewers of Paris, starting out in a new marriage or finding the spark in an old one, or flying to your true love (‘To the moon, Alice!’), the Addams Family and ‘The Addams Family’ remind us to ‘live before we die.’”

Go see this wonderful show. You’ll find much to cherish.

Stay after the performance for a photo with the cast on stage if you wish — the $5 donation goes to support the theater’s scholarship fund.

Theatre Three, 412 Main St., Port Jefferson will present “The Addams Family” through Oct. 27. Tickets are $35 adults, $28 seniors and students and $20 children ages 5 to 12. To order, call 631-928-9100 or visit www.theatrethree.com.

Ben Kingsley as Adolf Eichmann in a scene from ‘Operation Finale’. Photo courtesy of MGM Pictures

By Jeffrey Sanzel

“Operation Finale” depicts the Israeli secret agents who extracted notorious S.S. Lt. Col. Adolf Eichmann from Buenos Aires. Directed by Chris Weitz, with a screenplay by Matthew Orton, this is a taut historical thriller using Mossad agent Peter Malkin’s book, “Eichmann in My Hands,” for its source.

Eichmann was considered the architect of the Final Solution. It was he who masterminded the transportation logistics that brought millions of innocent Jews to their deaths in concentration camps across Europe. In writing of Eichmann, Hannah Arendt referred to “the banality of evil” — an “ordinary” man who expressed neither remorse nor responsibility for his hideous actions, the epitome of “just following orders.” He has been represented in books, plays and films throughout the latter half of the twentieth and well into the twenty-first century.

Mossad agent Isser Harel’s The House on Girabaldi Street(1975) was turned into a television movie in 1979.  The Man Who Captured Eichmann(also using Eichmann in My Hands) explores much of the same territory.  Robert Shaw’s playThe Man in the Glass Booth(and subsequent film) were inspired by Eichmann’s trial.  Eichmann has been portrayed by Robert Duvall, Stanley Tucci, Donald Pleasance, Maximillian Schell, Werner Klemperer, and Alfred Burke.

Ben Kingsley as Adolf Eichmann in a scene from ‘Operation Finale’. Photo courtesy of MGM Pictures

In “Operation Finale” the year is 1960 and the Mossad, Israel’s intelligence agency, is given information that points to Eichmann having escaped to Buenos Aires where he now lives under the alias Ricardo Klement. The film follows the covert mission of a small band of agents as they confirm, capture and finally transport Eichmann to Jerusalem to stand trial.

Prime Minister David Ben-Gurion (in a strong cameo by Simon Russel Beale) imparts the importance of the mission: “Our memory reaches back through recorded history. The book of memory still lies open. And you here now are the hand that holds the pen. If you succeed, for the first time in our history, we will judge our executioner. And we will warn off any who wishes to follow his example. If you fail, he escapes justice, perhaps forever. I beg you. Do not fail.”

It is a delicate balance to blend a Holocaust drama with a thriller. It is a fine and often dangerous line when representing anything that touches on this topic. While the movie does not take place during the Holocaust, it is clearly part of its aftermath and therefore must be approached as carefully and as honestly as possible. For the most part, the film succeeds, working best when the two leads engage.

Oscar Isaac plays Mossad agent Peter Malkin, while Ben Kingsley is Eichmann, his emotionally manipulative arch-nemesis. These are two masterful actors delivering powerful, understated performances. It is their scenes that resonate most strongly.

Isaac displays the conflict of the character’s desire for revenge (his sister and her children, murdered in Lublin, are represented in visions that haunt him throughout) weighed against the need to bring Eichmann to justice on the world stage. His struggle is both painful and vivid.  Kingsley — who has portrayed Holocaust survivors Itzhak Stern in “Schindler’s List” and Otto Frank in “Anne Frank: The Whole Story” — delivers a disturbingly subtle and emotionally complicated Eichmann in an unnervingly nuanced performance.

There are moments that are chilling in their simplicity: watching Eichmann counting train cars with his very young son as the agents spy on them; Malkin shaving Eichmann with a straight razor; Eichmann’s casual question, “Who did we take from you, Peter? Who did you lose?”; a sleeve revealing a blue tattoo.  

The tension and conflict among the captors themselves, who each bring varied points of view, highlights their humanity, and lends further texture to the film. In addition, this is a dangerous Argentina, with a harrowing scene depicting a gathering of Nazis and Nazi sympathizers. There is a clear sense that the government is more than complicit in its protection of these murderers. These elements enrich the world in which it is set.

The film is brisk and focused and the performances are uniformly strong. In supporting roles, Nick Kroll, Michael Aronov and Mélanie Laurent (all part of the Mossad team) are particularly noteworthy. While occasionally exchanging depth for dramatic tension, overall, “Operation Finale” is an engaging and often disquieting account of a very important historical event.

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