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Authors Posts by Jeffrey Sanzel

Jeffrey Sanzel

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A scene from 'The Lion King.' Photo courtesy of Walt Disney Pictures

By Jeffrey Sanzel

Disney has reached into its vault to create live-action versions of 101 Dalmatians, Beauty and the Beast, Cinderella, The Jungle Book and, most recently, the disappointing Dumbo and the mediocre Aladdin. Its newest release is the The Lion King, a remake of the 1994 animated classic, presented as a photorealistic computer-animated feature. The end result is stunning but unsettling.  

The original Lion King was a revelation. It dealt with difficult subjects and never pandered; it was wholly entertaining, truly sincere, and played to all ages. With loose shades of Hamlet, there was humor and humanity. It spawned the highly theatrical Tony Award-winning musical that has run for over two decades.

A scene from ‘The Lion King.’ Photo courtesy of Walt Disney Pictures

With few script embellishments from the original, the latest offering is just a new approach to animation. It is visually glorious, with every shot and every frame a breathtaking work of art. It is as realistic as if they were filming wildlife in its natural habitat. 

And therein is heart of the problem. In creating creatures that truly appear real — and they do — there is little to no expression. As animals do not communicate with their faces, it often feels static and detached in the dialogue sections. Much of the film seems like a nature documentary with voice-overs. The flip side is that the violence is brutally convincing with moments that are genuinely frightening. The hyenas are particularly alarming — and when they attempt to alleviate this with comic lines, they come across as psychotic.  

Directed by Jon Favreau, the film follows the original very closely (though clocks in a full 20 minutes longer). The opening is as beautiful and powerful as the original with the assemblage of animals coming to the presentation of young Simba, crown prince of the lions. The death of the patriarch is every bit as heart-wrenching if not more. The lion cubs could not be cuter. There are one or two very funny surprises; an amusing nod to Beauty and the Beast is welcome in one of the darker stretches.

In addition to the brilliant cinematography, the vocal artistry is first rate. J.D. McCrary and Donald Glover as the young and grown Simbas, respectively, bring honesty to their shared role. 

Billy Eichner is hilarious as the meerkat Timon, with a nice assist from an underplaying Seth Rogen as the warthog Pumbaa. 

John Oliver is comically uptight as the bird Zazu while John Kani brings genuine gravitas to the shaman-like Rafiki. Alfre Woodard is appropriately warm and strong as matriarch Sarabi and the great James Earl Jones, the only hold-over from 1994, returns as Mufasa and delivers a performance equal to his original. 

Especially strong, finding both danger and dimension, is Chiwetel Ejiofor as the treasonous Scar; what is interesting is that of all the characters, his face somehow manages to communicate the most expression.

The delightful music of the first film is here: It once again features the Oscar-winning work of Hans Zimmer, Tim Rice and Sir Elton John.

Because of the realistic and often savage violence, it seems that it might be too frightening for young audiences. So while engaging and inventive, ultimately, Disney’s The Lion King leaves the viewer with a certain disconnect and questioning not so much as why it was made but for whom.

Rated PG, The Lion King is now playing in local theaters.

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Reviewed by Jeffrey Sanzel

“I’m afraid that it’s cancer again, Richard, and this time it’s a bad one.”  

Author Ralph F. Brady

The opening line to Ralph F. Brady’s novel “Borrowed Time” pulls no punches. It establishes the protagonist’s dilemma and sets him on a journey that takes him back over 100 years.  

Forty-year-old Richard Carpenter has an eight-year history with various illnesses, all of which he has overcome. However, in this instance, the odds are against him; he is given a prognosis of one year. He begins to suspect that his difficulties can be traced to damage done by his paternal grandfather, whose alcoholism and work with dangerous chemicals altered the family’s DNA. It is this hypothesis that drives the action.

Coinciding with this news is the closing of the boatyard where he works as a skilled and gifted mechanic, welder and “jack-of-all-trades.” He quickly gets a position working on a secret project at Brookhaven National Lab. This turns out to be a government-sponsored time travel venture that is about to be shut down. Convinced that he can change his health by altering his history, Richard volunteers to be the first human to be sent back in time.

The majority of the novel is taken up with Richard’s experience in the past, spanning the end of 1899 through the beginning of 1900. It is a personal story and not about the science of time. Instead, it is about Richard’s need for answers. He knows that his situation might be unsolvable but he hopes to at least understand how his fate came about.

Brady has meticulously researched turn-of-the-century Long Island and paints both a community and global picture of the time. There is great fun in many local references, both past and present. For example, the train from Brooklyn to Greenport is always on time as there are only four stops.

Richard meets and befriends his paternal grandfather, Francis, and attempts to guide him toward a sober life. He does this in full knowledge that there are any number of repercussions. Richard even visits with Francis’ wife – his grandmother – whom he would meet in his own childhood.

Francis invites Richard to work alongside him in the research and construction of submarines, being built and tested in New Suffolk. Brady brings to life this world, including inventor J.P. Holland, who took this craft to the next step. (There is a particularly harrowing description of a submersion that nearly goes wrong.) 

Of course, with his modern know-how, Richard quickly becomes invaluable. Politics and personalities intersect as Richard guides Francis to better choices. 

Romantic entanglements with his boardinghouse landlady make Richard question his 21st-century commitments. Initially, there are sweet scenes of a pastoral nature. However, Brady is smart enough to know that nothing is simple and the complications mount as Richard weighs his past and present lives, considering the choices he has and the uncertain future he faces. 

The fact is, he becomes not just comfortable with this brave old world but connects with it in ways he didn’t expect.  

Brady has a natural and engaging prose. While it is told third person, it feels as if Richard is speaking, giving the narrative a personal and unaffected voice. Richard raises eyebrows with latter-day idioms (“fifteen minutes of fame,” “go to my head”) and must continually create a detailed, false history. 

In addition, he has skills and insights that he must introduce without arousing too much suspicion. With shades of Mark Twain’s “A Connecticut Yankee in King Arthur’s Court,” he is a man living out of his time.

Any work that focuses on time travel and the changing of a time line demands a logical and satisfying resolution. The final twist in “Borrowed Time” provides a smart and powerful final stroke in Brady’s debut novel.

Author Ralph Brady is a retired executive from the transportation industry. His latest novel,“Borrowed Time,” is available online from Amazon and Barnes & Noble, and through local bookstores. The Mount Sinai resident is also the author of “Landmarks & Historic Sites of Long Island,” “Images of America: Glendale” and “A Maritime History of Long Island.”

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A scene from ‘Toy Story 4’. Photo courtesy of Disney/Pixar

By Jeffrey Sanzel

A film that aims to explore the pains of growing up, that endeavors to touch on love and loss, on sense of self and self-worth, takes on a huge challenge. That the movie aspires to a balance of humor and honesty makes it even more challenging. That an animated feature is told through the eyes and voices of toys seems impossible. However, as seen through the first three Toy Story movies, it is more than attainable. In a franchise that grew in both depth and art with each film, finding more laughter and more tears, it is the exception to every rule. The newest addition, Toy Story 4, is certainly one of the best films of the year.

Woody introduces Forky to the other toys. Photo courtesy of Disney/Pixar

Here are 100 minutes of pure entertainment, alternating between laugh-out-loud funny and poignantly touching, in a film that never feels like a sequel. It plays on multiple levels, providing jokes and slapstick, clever asides and deep insights, so that audiences of any age will be completely engaged from start to finish.

Woody (the always marvelous Tom Hanks) now belongs to Bonnie (Madeleine McGraw) but has been put aside for cowboy Jessie (Joan Cusack). This does not change Woody’s mission to make sure Bonnie is taken care of at all times. When Bonnie reluctantly goes to kindergarten, she finds solace in creating Forky, crafting him from a spork, googly eyes and a pipe cleaner — an opportunity that Woody engineers. Forky becomes Bonnie’s obsession and solace. What she doesn’t realize is that Forky (a scene-stealing Tony Hale) does not want to be a toy. Eventually, guided by Woody, Forky learns his value.  

Toy Story 4 is what we have come to expect in the series without ever feeling like it is a repeat of its earlier chapters. The movie includes a wild road trip, a dazzling carnival and a range of hijinks and colorful characters that make for a nonstop adventure. 

Eventually, the crew is reunited with the now self-actualized Bo Peep (a sly and knowing Annie Potts) who has found freedom in being a “lost toy,” living a full life in what can only be labeled renegade and off the grid with a posse of like-minded toys. Much of the latter half of the film also centers around an antique shop, ruled by Gabby Gabby (a flawlessly wicked Christina Hendricks) and her minion of ventriloquist dummies. Gabby Gabby is, at first, the villain of the story; but there is much more to her and her journey.

The film features many returning voices including Tim Allen as Buzz Lightyear (comically learning to listen to his inner voice), Wallace Shawn as the neurotic Rex, John Ratzenberger as Hamm, Blake Clark as Slinky Dog, Estelle Harris as Mrs. Potato Head, Don Rickles as Mr. Potato Head (from archival recordings), Timothy Dalton as Mr. Pricklepants, Bonnie Hunt as Dolly and Carl Weathers in a terrific running joke as three different Combat Carls. All of them deliver incredibly enjoyable performances, mining the most of their individual and team moments.

Newcomers include Keegan-Michael Key as Ducky; Jordan Peele as Bunny, an outrageous plush pair; and Keanu Reeves as Duke Caboom, a second-rate Evel Knievel toy. There are wonderful cameos from Mel Brooks (Melephant Brooks), Carol Burnett (Chairol Burnett), Betty White (Bitey White) and Carl Reiner (Carl Reineroceros).

Josh Cooley, whose directorial credits include The Incredibles, Cars and Up, has beautifully guided the entire film. The excellent screenplay is by Stephany Folsom and Andrew Stanton (with a total of eight people credited with “story by”). The literally hundreds of artists who worked on the picture have contributed to an emotionally seamless and visually stunning whole.

If the ending doesn’t pack quite the emotional punch of Toy Story 3, it is still wholly satisfying, bringing to a close a classic and heartfelt odyssey. While perhaps not perfect, Toy Story 4 comes pretty close.

Rated G, Toy Story 4 is now playing in local theaters.

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Time, space and the heart of family

Reviewed by Jeffrey Sanzel

Long Island author Erika Swyler’s debut novel, “The Book of Speculation,” was an international bestseller, can be found on many of the Best Book lists of 2015, and was subsequently translated into multiple languages. It is an intimate and touching book, both sweet and eccentric.

Author Erika Swyler

In her sophomore outing, “Light From Other Stars,” she has created a powerful work that is no less affecting but now she has turned outward — delving into themes of time, space and responsibility. It is both science and speculative fiction of the best kind. The novel follows two threads: The first centers on Jan. 28, 1986, the day of the tragic explosion of the Space Shuttle Challenger; the second is over 50 years into the future. The two are woven together by the story of Nedda Papas.

In 1986, 11-year-old Nedda lives with her scientist father, whom she idolizes, and scientist-turned-baker mother, with whom she has a dysfunctional relationship. They reside in the fictional Easter, Florida, just on the edge of the launch. She is a young girl obsessed with space exploration. Unbeknownst to Nedda, her father has invented a machine (the Crucible) that alters the fabric of time.  

The father’s motivation is one of the mysteries that is slowly unraveled throughout the course of the narrative. It is a wholly personal impetus that makes the repercussions all the more heart-breaking. The impact of the time alteration is varied, intriguing and truly chilling. It is a world that has been rent. One Easter resident laments, “My pools half froze and the half that’s not is boiling.”

Told alongside this story is adult Nedda on the spacecraft Chawla, journeying into another solar system. The crew has been sent from a dying Earth to colonize a new planet. Nedda and her three shipmates face untold challenges without and within as they journey millions of miles into the universe. 

Small details of the day-to-day struggle, both physical and emotional, are juxtaposed with larger themes and the crisis that they are immediately facing. From the first moments of the book, the stakes are genuinely high.

While epic in scope, Swyler creates characters of depth and dimension. Their pain and hope are painted with the most telling of details. She understands the complicated relationship of parents and children: “[Nedda] forgave him, but added it to the tally of things her parents needed to make up to her.” And conversely: “Part of parenting entailed learning the exact expression your child made when you broke her heart, and knowingly breaking it again and again.”

Swlyer writes with equal authority the details of time and entropy as she does the deep ache of burgeoning childhood romance. Whether clearly explaining complex theories (both in space and baking) or describing a brutal and fatal car accident, she writes with vivid and visceral accuracy. 

The plotting is sharp and her alternating between the two strands is smooth and logical. Her language has grown even more lyrical since her premiere novel. It is elevated prose but never loses its grounding and understanding of humanity:

Sometimes rightness was a feeling. Sometimes you didn’t know something worked until you touched or smelled it and saw where it fit. Denny was oranges, Ivory soap, and moss. Her dad was a hinge creaking, unbent paper clips, and boiling salt water. A launch was rain, ash, and eggs.  Those things weren’t supposed to fit together, but they did.

Ultimately, the complicated themes of family and scientific creation are joined:  

Your children were all your flaws shown to you in a way that made you love them: your worst made good. Inventions were your best attempt at beautiful thought. They were objective; they worked or they did not. They had purpose, whether they achieved it or not. They were yours always, in that they did not leave you, or turn away.

“Light From Other Stars” is a rich and rewarding read, told with tremendous insight and profound resonance. It is a book that will stay with you long after you’ve closed its cover

“Light From Other Stars” is available at Book Revue in Huntington and online through Bloomsbury Publishing (www.bloomsbury.com), Amazon, Barnes & Noble and Target. For more information on the author, visit her website at www.erikaswyler.com.

 

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Mindy Kaling and Emma Thompson in a scene from the movie. Photo courtesy of Amazon Studios

By Jeffrey Sanzel

Fans of Mindy Kaling, best known for “The Office” and “The Mindy Project,” have been flocking to theaters to see her debut as feature writer for “Late Night,” a by-the-numbers comedy that takes on the issue of diversity in the workplace and makes its statement with a connect-the-dots expectation. Directed by Nisha Ganatra, there are no surprises but it still makes for an enjoyable hour and 45 minutes.

Emma Thompson in a scene from ‘Late Night’

Emma Thompson plays legendary late-night talk show host Katherine Newbury whose ratings have been slipping. She has surrounded herself with an all-male, all-white staff and is described as a “woman who hates women.” In response to this, she gives her long-suffering producer Brad (a wonderful Denis O’Hare) the task of hiring a woman. Through slightly unbelievable machinations, he brings on chemical plant worker Molly (Mindy Kaling) to the writing staff.  

Instead of a true examination of hiring practices, what ensues is humorous but contrived as Molly is first ostracized and then embraced by the team. There are occasional edgy moments – including Molly writing a topical and controversial monologue joke – but these risks are few. For the most part, it adheres to traditional comedy tropes, including an ill-fated and unnecessary romantic entanglement that feels incomplete. (There is a sense throughout the film that a good deal ended up on the cutting room floor as certain ideas and conflicts are introduced but not seen to conclusion.)

The first turning point is when Katherine discovers she is going to be replaced by a mainstream and extremely coarse comedian Daniel Tennant (Ike Barinholtz, a subtle performance that avoids caricature). With this impetus, she goes to war with the head of the network Caroline Morton (Amy Ryan, saddled with a two-dimensional character). With Molly’s wide-eyed, aw-shucks guidance, Katherine begins to reinvent herself.

Minday Kaling in a scene from ‘Late Night’

Emma Thompson, one of the greatest and most versatile actors, creates a delightful monster of a boss. She never talks to her writers and doesn’t even bother to learn their names. When forced into a room with them, she gives them numbers. This is not done with cruelty but rather by someone who cannot be bothered with the people beneath her. Of course, in a comedy of this nature, she gradually learns to appreciate them.

Thompson’s depth is best shown when interacting with her ill husband Walter (a touching John Lithgow) and in an impromptu performance at a hole-in-the-wall benefit downtown. In the latter scene, the audience can see her pondering the mortality of her career.

Kaling is Thompson’s co-star and conscience. She is also “Late Night’s” writer and producer, which perhaps explains some of the weaknesses. As an actor, Kaling is a personality performer. There is no genuine complexity in her work but she is comfortable in her persona. She is watchable but, unlike with Thompson, as a presence, she is not transformative.  

The film is bolstered by a cast of strong actors in convincing performances, including Hugh Dancy, Reid Scott, Max Casella, Paul Hauser and John Early. It is interesting to note that with the exception of Thompson and Kaling, there are no other fully developed female characters.

The second act crisis is clumsily manipulated but, once again, the actors are able to make it work. “Late Night” builds to an expected resolution but, given the nature of the film, it is the one that the audience hopes for and expects.

Rated R, “Late Night” is now playing at local theaters.

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Taron Egerton as Elton John in a scene from the film. Photo courtesy of Paramount Pictures

By Jeffrey Sanzel

Elton John: So how does a fat boy from nowhere get to be a soul man?

Wilson: You got to kill the person you were born to be in order to become the person you want to be.

The first moments of “Rocketman” easily establish the world in which this film will take place. In full demonic costume, Elton John descends on a rehab group therapy session. This serves as the framework throughout this unusual musical.

Promoted as “based on a true fantasy,” this is less a biopic of Elton John (who produced) but a fantastical rumination on the power and price of superstardom. Chronology and accuracy of time line are flexible at best but this by no means is a complaint. The result is a flashy, frenetic and wholly engaging two hours where we are treated to John’s rise and ultimate self-destruction. 

The movie is both a traditional and a unique musical, most often using the songs to further the story rather than focusing on his concert career. The unusual gambit pays off in Dexter Fletcher’s imaginative direction of Lee Hall’s scattered but satisfying screenplay.

Taron Egerton as Elton John in a scene from the film Photo courtesy of Paramount Pictures

The film shifts quickly from the rehab group therapy as John literally steps into his past. A cold and distant father (an appropriately uncomfortable Steven Mackintosh) paired with an indifferent and narcissistic mother (Bryce Dallas Howard, in an ugly but believable performance) fuel his need to find himself.

“I wish I was someone else,” laments his boyhood self, Reginald Dwight. With the encouragement of a benevolent grandmother (the always wonderful Gemma Jones), he begins to take piano lessons, graduating to a scholarship at the Royal Academy of Music.

The film hopscotches through the next years as he begins playing with the pub band, Bluesology. The story then hits the highlights. These include connecting with music publisher Dick James (a cigar-and-scenery-chewing Stephen Graham), meeting and working with his longtime lyricist Bernie Taupin (a saintly Jamie Bell) and his debut at the Troubadour, a Los Angeles club. It is here he meets John Reid (Richard Madden, a little too full-on villain) who becomes his manager and his lover.

Much of the film follows this destructive relationship. John then begins the transition to the flamboyant persona that would carry him through much of his career. With success comes a life of excess as he becomes embroiled in alcohol, drugs and sex.

The film’s center needs to be its heartbeat.  In the starring role Taron Egerton creates a mesmerizing, three-dimensional performance and even provides his own vocals. Egerton smoothly arcs from the inhibited Reggie to the outrageous but equally self-doubting
Elton John. He manifests a complete rainbow of humanity, with shades of loneliness showing through even the grandest moments. Egerton is a marvel and drives the entire film.

As for the music, nearly two dozen songs are used, including “The Bitch Is Back” (a fascinating opening), “I Want Love” (highlighting the family’s dysfunction), “Saturday Night’s All Right for Fighting” (chronicling his early years), “Honky Cat” (embracing his life of indulgence), “Rocketman” (an attempted suicide and recovery), “Bennie and the Jets” (spiraling down), “Goodbye, Yellow Brick Road” (emphasizing his break with Taupin), as well as various concert moments.

Special note should be made of Adam Murray’s interesting, sometimes dreamlike and often athletic choreography. Costume designer Julian Day’s reimaging of Elton John’s spectacular wardrobe is a whirlwind of sequins, feathers and glitter.

The creators chose not to present the last three decades of his life, instead opting for a quick summation, including sobriety, marriage and fatherhood. While it would have been nice to follow his recovery and the second act of his career (“The Lion King,” “Candle in the Wind,” etc.), it finds an appropriate ending to an epic journey. “Rocketman” is thoroughly entertaining with all of the glitz and razzle-dazzle one would expect to celebrate this legendary icon.

Rated R, “Rocketman” is now playing in local theaters.

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Reviewed by Jeffrey Sanzel

Author Sarah Durst

In “The Deepest Blue,” author Sarah Durst has fashioned an enthralling fantasy in a striking and brutal world, rife with dangers that are deadly and ever present. The magic that is part of its existence only defends so much; it is strength and intelligence that become the greatest protections.

Durst outlines with quick, intense strokes the history. Originally, Renthia was four countries and the queens tamed the spirits of earth, tree, air, water, fire and ice. When the wild, unclaimed spirits that lived in the sea attacked the land, the queens repelled them — destroying many and compelling the others into a deep slumber in “the Deepest Blue.” These powerful spirits existed before the time of mankind, and they ache with an ancient hunger.

These spirits have an unquenchable urge to create and destroy.  A wind spirit is described:  “Screaming as it came, it flew across the seas and onto the shore. It bent the trees until they bowed, their tips touching the sand. It tore at the houses, ripping the shutters from their windows and the clay tiles from the roofs.” A water spirit is shown: “Rising up in massive swells, the waves slammed into the island, flooding the homes that were closest to the shore, destroying gardens and drowning livestock.” Ultimately, “all were deadly.”

In the matriarchal mythology, there are select women who have the power to thwart and even annihilate the attackers. When they show their powers, they are taken away and given two choices: to be taken to the Island of Testing, Akena, to train to be an heir, or to forsake family and identity and become one of The Silent Ones, the queen’s white-masked and gray-robed enforcers. The chances of actually surviving to become an heir are slim; so many choose the latter and join the disturbing Silent Ones — standing “as if they were stone” — who come when it is sensed that someone has revealed her power.

Heirs “… were, in many ways, above the law. They were trained to fight threats to the islands. Trained to fight spirits …” It is the strongest women who need to become heirs, to fight the wildest and most dangerous of spirits. Whenever wild spirits are going to attack the islands, the queen becomes aware of their encroaching presence and sends the heirs to subdue them.

At the center of the story is Mayara. The book opens on the day of her wedding to childhood sweetheart, Kelo, an artisan who makes charms that repel the spirits.  Mayara’s parents are in mourning for Elorna, Mayara’s older sister, who was selected to fight the spirits but lost that battle. Like the others so endowed, the power is as much a gift as a curse.

Mayara’s intuits the malevolent forces: “She sensed the wild spirits swirling around them … She felt their unbridled hatred and rage pour into her until she thought she’d choke on it.”  She perceives their existence: “… they weren’t thoughts, precisely.  It was a whirlwind of need and want. They wanted blood, death, and pain.”  Mayara can feel the spirits and the “bottomless hunger and rage.”

Like so many, Mayara, had hidden her powers and only unleashed them when her island is under siege. Thus begins Mayara’s journey.  Confronted, she makes the choice to train to be an heir. From there, the book opens up to her training then the court beyond. It is a wild, fascinating adventure, with honest, inventive individuals and sharp plot twists, building to a thrilling conclusion.

The characters are extremely well drawn.  When we finally meet the Queen, Asana, she is portrayed not as villainous but as conflicted and dimensional, struggling against terrible choices and political intrigue. Her confidante, Lady Garnah, is a wonderful, wicked creation, offering the book’s humorous edge. An often impenetrable anti-hero of fascinating depth, she is deeply devoted and yet amoral, making her all the more terrifying. In one of the most original sequences, Lady Garnah manipulates from behind the scenes, engineering life-and-death revelations.

Themes of sacrifices — both large and small and made for the greater good — play out against the strength of the third choice — that actions do not necessarily come down to one or the other but something that is “more than.” “The Deepest Blue” is a wholly satisfying read. It is a tale of fantasy rooted in human truths.

Here, Durst eloquently and simply sums up our complex existence: “Red spots stained the sand. A drop of blood hit Roe’s forehead.  It dripped in a streak down her temple and then mixed with her tears.”

Sarah Beth Durst is the award-winning author of 18 fantasy books for kids, teens and adults. The master storyteller lives in Stony Brook with her husband, her children and her ill-mannered cat. Recommended for adults, “The Deepest Blue,” Book 4 of four in the Queens of Renthia Series, is available online at Barnes & Noble and Amazon. For more information, visit www.sarahbethdurst.com.

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Above, Mia in the role of Toto at Theatre Three Photo by Brian Hoerger, Theatre Three Productions Inc.
Jeffrey Sanzel with Mia

Theatre Three in Port Jefferson will open the family musical “The Wizard of Oz” on May 18. Appearing in the role of Toto is the lovely Shih Tzu mix Mia Donatuti. Director Jeffrey Sanzel sat down with Mia to talk about her life, her love of cheese, and her upcoming Theatre Three debut.

How are you today, Mia?

I’m good! It’s good to be here!

Well, we’re very glad to have you.

Thank you!

So, we’ve been rehearsing now for a few weeks …

Yes, we have. It’s fun! So many people and smells!

That’s very true. We thought it would be fun to find out more about you.

OK!

Where were you born?

Oh. I’m not sure. I know I came to my home from the Kent Animal Shelter in 2014.

And how old are you now?

A lady never tells her age!

Of course. Where do you live now?

I live in a house. With doors. And windows.

That sounds very nice.

It is!

And where is the house?

It’s in East Patchogue. I live with my mommy, Dawn, and my six doggie siblings.

What’s that like?

It’s really terrific! Some of my siblings are big and some are small. The littlest is five pounds. The biggest is ninety-two pounds!

That’s a big family.

Mommy has also fostered a lot of other doggies. I’ve lived with twenty-seven foster doggies since I came to live there.

That’s great. Do you have a favorite sibling?

Well, I’m the Princess so …

Got it.

I like Mommy best. I share my toys and bedding with my brothers and sisters but I don’t share my Mommy’s right cheek for sleeping time.

Fair enough.  

Do you have any cheese?

Uh, no. Not right now. But I’ll get some.

Thank you.

I understand you have a job.

It’s kind of a job but it’s more than that. When Mommy’s daddy went into a nursing home, Mommy brought me for visits. After Grandpa came home, Mommy decided to keep bringing me there on Sundays. So I become a service dog. I like the people SOOOOO much. I spend most of my time with the people who don’t have visitors or lots of family.

That’s great.

Sometimes, they line up to hold me. Once, this really nice lady tried to run away with me!

Oh, my!

Another time, another really nice lady carried me around like I was her baby for an hour and sang me nursery rhymes. She was very sweet.

Was it hard to get certified as a service dog?

No. I just needed to show them that I was focused and not rambunctious. Which I’m not! It wasn’t hard. I love going.

What do you like best about being a service dog?

Sitting on people’s laps. I like attention.

Could we talk about ‘The Wizard of Oz’?

Sure! 

Is this your stage debut?

Well, no … I actually I played Toto in an elementary school production of “The Wizard of Oz.” Mommy’s niece played a munchkin. It was fun to work with the young kids. But this is my first time on a real big stage.

I’ve noticed that you don’t bark.

No. It’s not ladylike.  

What are you looking forward to most about playing Toto?  

Being with the cast. Everyone is so nice. And I’m going to get to meet people after the show.

Really?  

Uh-huh! Anyone who wants can have their picture taken with me and Dorothy and the Scarecrow and the Lion and the Tinman after the show. That’ll be fun! I’ll get to meet so many new people. I like meeting new people.

What do you like to do in your spare time?

I like getting out of the house by going grocery shopping or to the movies. I like to go out. I like dressing up. I’m a bit girly. I don’t like bows in my hair but I like sweaters.

Anything else?

I like to eat. Liverwurst. Cheese. Bacon. Cheese.  

Do you have any words of encouragement for other dogs who might want to get involved in theater?

It’s a great experience for doggies with a good disposition to see and be seen!

Thank you for taking the time to talk to me today.

You’re welcome. Cheese, please?

Photo by Brian Hoerger, Theatre Three Productions Inc.

“The Wizard of Oz” plays May 18 through June 22 at Theatre Three, 412 Main St., Port Jefferson. For tickets and information, call the box office at 631-928-9100 or visit www.theatrethree.com. Stay after the show for a photo with Dorothy, Toto and their friends.

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‘Dumbo’ is a live-action remake of the 1941 animated classic.

By Jeffrey Sanzel

In viewing Tim Burton’s “Dumbo” it is hard not to compare it to Disney’s animated feature that served as source and inspiration. The delicate and wonderful cartoon ran 65 minutes and was both enchanting and heartbreaking. Like all of Disney, there is delicacy about this 1941 film that has made it an enduring classic.

The story in both cases is that of the baby elephant, Jumbo Jr., a pachyderm born with giant ears. It is what makes him different that ultimately proves him special. These giant appendages give Jumbo Jr. — crowned Dumbo — the gift of flight. Ultimately, it is a tale of the “other” — a being ostracized for being different and then finding success, and, more importantly, joy in this distinction.

The original film ends with Dumbo’s rise to fame and his reuniting with his mother. Burton’s version extends the length and the plot to a bloated two hours. The film is stunning to watch with incredible CGI in the creation of the title character. Dumbo is a wholly realized creation with eyes that are mournfully soulful. The film (in 3-D) is visually satisfying but comes up short on character development. 

The story is set just after the end of World War I. Wounded soldier Holt (a brooding but sympathetic Colin Farrell) returns to a failing circus and to his children, Milly and Joe (Nico Parker and Finley Hobbins, in nicely understated performances). He has lost his arm to the war and his wife to influenza. The circus is run by a roguish charlatan, Max Medici (Danny DeVito, doing what he does and does well), and is populated by the expected archetypes — the mermaid, the strongman, the snake charmer, etc. Instead of pursing this world and background lives, Burton opts for broad strokes and frenetic action.

It is the children, and, in particular the scientific Milly, who discover Dumbo’s gift. After the reveal of Dumbo’s talent, the film shifts with the arrival of a villainous entrepreneur V. A. Vandevere (scenery-chewing Michael Keaton with an impenetrable and unrecognizable accent). Vandevere fools Medici into signing away his company so that he can headline Dumbo in his Dreamland amusement park. Here, the world becomes even bleaker as it segues into a clumsy indictment of corporate greed. What ensues is often tense and dramatic, but there is a desolation that pervades, only lifted by the final images of freedom.

While there are plenty of homages to the original (the lullaby “Baby Mine,” the pink elephants are particularly clever and a mouse in a uniform harkens to the antecedent’s sidekick), the film has a very modern point of view, especially on the issue of caging animals. It is an important message and one that needs to be heard, but rings oddly false in its period setting. 

Finally, the question one must ask is, “Who is this film for?” The answer: It is a children’s film that is perhaps too dark for the children.

Rated PG, “Dumbo” is now playing in local theaters.

Photos courtesy of Walt Disney Studios

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By Jeffrey Sanzel

Cynthia Baxter

In her sophomore outing of the Lickety Splits Ice Cream Shoppe mysteries, author Cynthia Baxter once again returns to the fictional Wolfert’s Roost, a small town nestled in the Hudson Valley where Kate McKay has opened up an artisan ice cream parlor. A former public relations director and transplanted New Yorker, she has returned to her hometown to help care for her feisty grandmother, the woman who raised her.

Picking up immediately after the end of the delightful “Murder With a Cherry on Top,” Kate becomes embroiled in the murder of a beloved fashion designer, Omar DeVane. The page-turner focuses on a quartet of suspects that orbit Omar’s world. Secrets and deception intersect with the world of high fashion. Kay, along with her “Three Musketeers”— childhood friend, Willow; niece Emma; and Emma’s boyfriend, Ethan — embark on an inquiry.

What is unique is Kay’s motivation? She’s not just another amateur sleuth involved where she shouldn’t be; instead, her concern is that the murder has made the area notorious and has negatively affected the town’s businesses. Her drive is to solve the crime to put Wolfert Roost back on track.

There’s also a nice romantic triangle that plays out in the background, creating additional conflict for Kay, but never interfering with the rapid progress of the mystery. In addition, Baxter shows her literary skill in a portrait of Omar’s brother, Arthur. Touching and dimensional, it provides a whole different shade in the fast-paced narrative. It is a sympathetic and unusual portrait of a man who has found satisfaction in the simplicity of his life.

With appropriate tension and intrigue, the story builds to a satisfying resolution. And, of course, like in the premiere outing, the entire tale is told against the world of the ice cream parlor, complete with the traditional flavors (Classic Tahitian Vanilla) as well as a host of unusual confections Kay dreams up (Honey Lavender, the sorbet Peach Basil Bliss!). 

“Hot Fudge Murder” is a great second helping of cozy mystery. Looking forward to a third.

Cynthia Baxter is the author of 55 novels.“Hot Fudge Murder” is the second book in her new Lickety Splits Ice Cream Shoppe Mystery series with Kensington Publishing Corp. and is available online at Barnes & Noble and Amazon. Visit her website at www.cynthiabaxter.com.

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