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Evy McIntosh. Photo by Bryce Buell

By Melissa Arnold

A natural performer, Evy McIntosh is happiest when she’s on stage or in front of a camera.

The 16-year-old Ward Melville High School junior has already built an impressive resume in the entertainment world, appearing in several shows on the Investigation Discovery channel and Netflix, as well as in supporting roles in films. Beyond that, she’s been in a host of different theatrical plays both in and out of school.

For most teens, that’s where the story would end. But the Setauket resident has big dreams and a heart for others that she wants to share with the world.

Evy McIntosh. Photo by Bryce Buell

Beginning Jan. 17, Evy will join approximately 80 other girls from across the Empire State at Purchase College, where they will compete for the title of Miss New York Teen 2020. It’s the opportunity she always hoped for, but didn’t exactly expect.

“I was always singing when I was little, even if it wasn’t good. Then one day, I can remember watching TV and wondering, ‘How do they do that? How do they get there?’” she recalled. “I told my mom that was what I wanted to do.”

Mom Francine responded as most parents would: We’ll see.

“It was one of those things that just developed over time. Evy started acting when she was around 8 years old, and she became a part of the Performing Arts Studio in Port Jefferson, where she would do acting and voice lessons,” said her mother. “Eventually that led to acting work in Manhattan, and then this opportunity for Miss New York Teen USA fell into our world.”

With years of experience already under her belt and a blossoming professional career in the works, Evy said she was eager to try out modeling work. She thought that the pageant would be a great way to develop skills in that area while getting her name out to talent scouts, who are frequent attendees at pageants.

“I’ve really enjoyed getting to learn more about the pageant process, having my hair and makeup done, and picking out dresses. It’s a great way to meet people in the modeling industry,” she said, adding that she already attended an orientation for nearly 80 Miss New York Teen USA participants to learn the ins and outs of pageantry.

The process of narrowing the field to one outstanding teen actually takes three days. First, there’s a private, closed-door interview that allows the judges to get to know each girl in a relaxed, conversational environment. Girls wear professional outfits of their own choosing and talk about why they’re competing.

“You have to prove to the judges that you really deserve the crown. There is a time limit, and I know I’ll need to practice a lot with that because I can ramble sometimes,” Evy joked.

On the second day, all the girls are taught a dance routine and spend time rehearsing. It’s also when they’ll show off their activewear − the teen competition does not include swimsuits − and eveningwear. 

Then, on Jan. 19, approximately 15 semifinalists are revealed onstage during the crowning ceremony. One last walk in activewear and eveningwear will narrow the field to five finalists, who will answer interview questions. The winner will represent the state as Miss New York Teen USA for 2020 and receive a scholarship package.

Each girl has her own unique focus for the pageant that would become her platform if chosen as Miss New York Teen USA. For Evy, her mission is to create “One Community for All.”

“I have two older brothers, Francis and John Paul, who both have severe autism. I’ve also volunteered with the Dew Drop Inn in Patchogue, a place where kids with special needs can get together and have fun. I wanted to use my platform to stand up for everyone who feels different or insecure and give them a voice.”

Jackie Schiffer, founder of pageant consulting firm Commit to the Crown Coaching, has worked with hundreds of clients seeking to hone their pageant skills. Evy connected with Schiffer through an acting teacher in New York City.

“I’m so impressed by the presence that Evy has. Sometimes, teens can struggle with their confidence, but she has great poise, maturity and openness,” Schiffer said. 

With appearances in countless pageants, including top five finishes, Miss Congeniality awards and multiple titles, Schiffer has seen firsthand how participating in a pageant can benefit a young woman.

“Being in a pageant gives you the chance to get to know yourself and figure out how you want to present yourself to the world,” she said. “And goal setting is a big piece as well. It’s great if winning is one of the goals, but it’s also about individual, personal growth. It might be about becoming a better communicator, feeling more confident, developing body positivity or promoting a cause you really care about.”

Schiffer added that she’s excited to see how Evy will make an impact in the future.

“We need role models for young women. Women can sometimes be socialized to believe their voice matters less than others, and Evy wants to help give a voice to others. She’s a great role model for other girls.”

If you would like to support Evy, she is seeking business, professional and personal sponsors to help achieve her goal. Sponsors will be acknowledged in the Miss New York/Miss Teen New York USA 2020 program book. Visit www.gofundme.com/f/evy-mcintosh-miss-new-york-teen-usa-2020 or email [email protected] for further information.

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Stocking the fridge with healthy foods is a great way to start off the New Year. Stock photo

By David Dunaief, M.D.

Dr. David Dunaief

It is now the second week in January, and most of us have made a New Year’s resolution – or many of them. You’ve taken the first step, but how do you increase the “stickiness factor,” a term used by Malcolm Gladwell in his book, “The Tipping Point”?

Setting a goal that is simple and singular helps. We often overdo it by focusing on multiple resolutions, like eating better, exercising more and sleeping better. While these are all admirable, their complexity diminishes your chances of success. Instead, pick one to focus on, and make the desired impact part of your goal. For example, improve health by losing weight and reversing disease. 

Changing habits is always hard. There are some things that you can do to make it easier, though. 

Your environment is very important. According to Dr. David Katz, director, Yale-Griffin Prevention Research Center, it is not as much about willpower as it is about your environment. Willpower, Katz notes, is analogous to holding your breath underwater; it is only effective for a short timeframe. Thus, he suggests laying the groundwork by altering your environment to make it conducive to attaining your goals. Recognizing your obstacles and making plans to avoid or overcome them reduces stress and strain on your willpower. 

According to a study, people with the most self-control utilize the least amount of willpower, because they take a proactive role in minimizing temptation (1). Start by changing the environment in your kitchen.

Support is another critical element. It can come from within, but it is best when reinforced by family members, friends and co-workers. In my practice, I find that patients who are most successful with lifestyle changes are those where household members are encouraging or, even better, when they participate in at least some portion of the intervention, such as eating the same meals.

Automaticity: Forming new habits

When does a change become a new habit? The rule of thumb used to be it takes approximately three weeks. However, the results of a study at the University of London showed that the time to form a habit, such as exercising, ranged from 18 to 254 days (2). The good news is that, though there was a wide variance, the average time to reach this automaticity was 66 days, or about two months.

Lifestyle modification: Choosing a diet

U.S. News & World Report released its annual ranking of diets last week (3). Three of the diets highlighted include the DASH (Dietary Approach to Stop Hypertension) diet, the Ornish diet and the Mediterranean diet. These were the top three for heart health. The Mediterranean diet was ranked number one overall, and the DASH diet was ranked second. Both the Ornish and the DASH diets ranked in the top six. 

What do all of the top diets have in common? They focus on nutrient-dense foods. In fact, the lifestyle modifications I recommend are based on a combination of the top diets and the evidence-based medicine that supports them.

For instance, in a randomized crossover trial, which means patients, after a prescribed time, can switch to the more effective group, showed that the DASH diet is not just for patients with high blood pressure. The DASH diet was more efficacious than the control diet in terms of diabetes (decreased hemoglobin A1C 1.7 percent and 0.2 percent, respectively), weight loss (5 kg/11 lb vs. 2 kg/4.4 lb), as well as in HDL (“good”) cholesterol, LDL (“bad”) cholesterol and blood pressure (4). 

Interestingly, patients still lost weight, although caloric intake and the percentages of fats, protein and carbohydrates were the same between the DASH and control diets. However, the DASH diet used different sources of macronutrients. The DASH diet also contained food with higher amounts of fiber, calcium and potassium and lower sodium. 

Therefore, diets high in nutrient-dense foods may be an effective way to lose weight while treating and preventing disease. 

I will share one more tip: Take it day by day, rather than obsessing on the larger picture. Health and weight loss can – and should – go together.

References:

(1) J Pers Soc Psychol. 2012;102:22-31. (2) European Journal of Social Psychology, 40: 998–1009. (3) www.usnews.com. (4) Diabetes Care. 2011;34:55-57.

Dr. Dunaief is a speaker, author and local lifestyle medicine physician focusing on the integration of medicine, nutrition, fitness and stress management. For further information, visit www.medicalcompassmd.com.   

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Donghui Zhu

By Daniel Dunaief

About 5 percent of people who suffer from Alzheimer’s disease have a genetic mutation that likely contributed to a condition that causes cognitive declines.

That means the vast majority of people with Alzheimer’s have other risk factors.

Donghui Zhu, an associate professor of biomedical engineering in the Institute for Engineering-Driven Medicine who joined Stony Brook University this summer, believes that age-related decline in the presence of the element magnesium in the brain may exacerbate or contribute to Alzheimer’s.

Donghui Zhu

The National Institutes of Health believes the former associate professor at the University of North Texas may be on the right track, awarding Zhu $3.5 million in funding. Zhu believes magnesium helps prevent the loss of neurons, in part because of the connection between this element, inflammation and the development of Alzheimer’s.

Numerous other factors may also contribute to the development of Alzheimer’s. Diabetes, lifestyle, a specific sleep cycle and low exercise levels may all play a role in leading to cognitive declines associated with Alzheimer’s, Zhu said.

According to some prior research, people with Alzheimer’s have a lower level of free magnesium in their body and in their serum levels than people who don’t suffer from this disease, he added.

In the short term, he aspires to try to link the magnesium deficiency to neuronal inflammation and Alzheimer’s disease.

Zhu plans to use some of the funds from the grant, which will run for the next five years, on animal models of Alzheimer’s. If his study shows that a lower level of magnesium contributes to inflammation and the condition, he would like to add magnesium back to their systems. Magnesium acts as an antioxidant and an anti-inflammatory agent.

“If we supply a sufficient amount of magnesium, can we slow down or reverse the process of this disease?” Zhu asked. “We hope it would.”

Any potential cognitive improvement in animal models might offer a promising alternative to current treatments, which often only have limited to moderate effects on patient symptoms.

In the longer term, Zhu would like to contribute to an understanding of why Alzheimer’s disease develops in the first place. Knowing that would lead to other alternative treatments as well.

“I don’t think my group or we alone can solve this puzzle,” he said. “We are all trying to chip in so the scientific community can have an answer or solution for the public.”

Like people with many other diseases or disorders, any two people with an Alzheimer’s diagnosis don’t necessarily have the same causes or type of the progressive disorder.

Women represent two-thirds of the Alzheimer’s population. Zhu said this isn’t linked to the longer life span for women, but may be more of a by-product of the change in female hormones over time.

In his research, he plans to study female and male animal models separately, as he looks to understand how the causes and progression of the disease may differ by gender.

In the human population, scientists have linked drug addiction or alcoholism with a higher risk of developing Alzheimer’s. He plans to perform additional studies of this connection as well.

“It’s the consensus in the community that alcohol addiction will increase the risk of developing Alzheimer’s disease,” Zhu said. People who consume considerable alcohol have reduced blood flow to the brain that can endanger or threaten the survival of blood vessels.

“This is another topic of interest to us,” he added.

Zhu is collaborating with other experts in drug addiction studies to explore the link with Alzheimer’s. 

In his research, he hopes to link his background in biology and engineering to tackle a range of translational problems. 

Stefan Judex, a professor and interim chair in the Department of Biomedical Engineering at Stony Brook, is excited about the potential for Zhu’s work.

Zhu is “a fast rising star in the field of biomaterials and fills a gap in our department and the university,” Judex explained in an email. “He is well-equipped to apply his unique research skills to a number of diseases, ultimately aiding in preventing and treating those conditions.”

In addition to his work on Alzheimer’s, Zhu also pursues studies in several other areas, including nano-biomaterials, biodegradable or bio-resorbable materials, regenerative medicine for cardiovascular and orthopedic applications, and drug delivery device and platforms

During his doctoral studies and training at the University of Missouri in Columbia, he focused on dementia and neuron science, while his postdoctoral research at the University of Rochester involved engineering, where he did considerable work on tissue engineering and biomaterials.

Zhu decided he had the right training and experience to do both, which is how he picked up on tissue engineering, regenerative medicine and neuroscience.

“They are not totally exclusive to each other,” he said. “There are many common theories or technologies, methods and models we can share.”

Adults don’t generate or create new neurons. He hopes in the future that an engineering approach may help to reconnect neurons that may have lost their interaction with their neighbors, in part through small magnesium wires that can “help guide their reconnection,” which is, he said, a typical example of how to use biomaterials to promote neuro-regeneration.

In his lab, he works on the intersection between engineering and medicine. The interdisciplinary and translational nature of the research attracted him to the new Institute for Engineering-Driven Medicine at Stony Brook.

He described Stony Brook as the “total package for me” because it has a medical school and hospital, as well as an engineering department and entrepreneurial support.

He has already filed numerous patents and would like to form start-up companies to apply his research.

Judex wrote that he is “incredibly pleased and proud that Dr. Zhu joined” Stony Brook and that it is “incredible that he received this large grant within the first few months since his start.”

In his career, Zhu would like to contribute to new treatments.

“Some day,” he said, he hopes to “put a real product on the market.”

 

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Above, Phyllis March and Antoine Jones in a scene from Theatre Three’s ‘Driving Miss Daisy.' Photo courtesy of Theatre Three Productions Inc.

By Melissa Arnold

For many people, it can be challenging to get to know someone of a different culture or background. This was especially true in the decades leading up to the civil rights movement, when expected social roles, biases and assumptions were commonplace. Playwright Alfred Uhry presented this struggle in his classic drama, “Driving Miss Daisy.” The show begins in 1948 in Georgia and chronicles more than 20 years in the life of Hoke Coleburn, a genteel and optimistic black chauffeur, and his client, a standoffish Southern Jewish woman named Daisy Werthan.

The Pulitzer Prize-winning play is set to open at Theatre Three on Jan. 11. Directed by Linda May, it co-stars Phyllis March as Daisy, Steve Ayle as Daisy’s son Boolie and Antoine Jones as Hoke, a role his father Al Jones played on the same stage 25 years ago.

The 41-year-old actor has enjoyed a successful career in professional theater, following in the footsteps of his siblings and his late father. Since returning to Long Island a few years ago, the Setauket resident has become a familiar presence onstage at the Port Jefferson theater.

When did you first get involved with Theatre Three?

I did my first show for Theatre Three when I was a child -− it was a production of “The Pied Piper” and then when I was a teenager I was in “Joseph and the Amazing Technicolor Dreamcoat.” 

Did you ever aspire to play Hoke?

Evelyne Lune and Al Jones a scene from ‘Driving Miss Daisy’ in 1995. Photo courtesy of Theatre Three Productions Inc.

I never saw that for myself, no. I am about 20 years too young for the role, and that was a concern. Beyond that, I saw my father perform in this role for two separate productions, and during rehearsals there were moments where I had to stop and consider if I was acting or simply recreating what my father had presented. He was effortless. The character and this part of history were both very special to him as a man that was born in the late 1920s. He knew personally and deeply what “Driving Miss Daisy” was trying to accomplish. To stand on the stage he stood on 25 years later is a singular experience. 

Was it intimidating to step into the role knowing your father also played Hoke?

It would be one thing if this was just a role that my father played, and I waxed and waned between missing him and being sad that I don’t get to see him perform again. But I also have a broad background in African American studies, both from college and just in life, and the continuing relevance of “Driving Miss Daisy” is something I don’t take lightly. And I’m working with two other people that also understand their role. Legendary actors that most people are familiar with have played the role of Hoke, and there is an expectation that you better be able to do it.

How do you like working with the rest of the cast? 

Phyllis March and Steve Ayle both have a long history at Theatre Three. They’ve been there for many years and are really part of the theater’s legacy. We are not the type of people who do theater just to make these sporadic connections that come and go. These are very earnest people with busy lives and jobs − Steve runs his own business. They came to do these roles because it means something to them to commit, do hard work, and give people something they can walk away with that’s more than just entertainment. It’s a gift to work with such hardworking people.

What do you enjoy most about the play?

We’ve spent a lot of time in rehearsals talking about who the characters are and where they’ve come from and how they got here. One of the greatest aspects of the play is that you don’t get the low-hanging fruit. 

Alfred Uhry has written a play that presents complicated people. It reveals a racism that isn’t mean-spirited or easy to identify. These are essentially good people who, whether through nurture, nature or a lack of exposure, are forced to realize that maybe they aren’t quite where they need to be. I think that’s where most of us are, and I think that’s the brilliance of the play. 

Daisy Werthan isn’t a racist, but as far as Hoke is concerned, she’s got a long way to go. Even Hoke himself is a product of structural racism, and he talks about it. He doesn’t like the Creole people because he feels like they don’t strive for education or to move off their land, but he doesn’t understand that they’re just as much victims of racism and the lasting effects of slavery as he is. We talk a lot about that, and the gift is that we get to expose that nuance.

Do you have a favorite scene?

My favorite scene for Hoke is when Daisy learns that her synagogue is bombed. To sympathize with her, Hoke reveals something deeply personal that affected him in a profound way. It’s meaningful because it gives a clue about how Hoke got to where he is now, He’s had a lot of profound experiences that he needs to keep close to the vest, but that isn’t something Daisy has experienced.

Do you identify at all with Hoke’s personality or experiences?

I don’t know that I can identify. One of my problems is that Hoke can’t simply turn around and say, “This is a problem that I’m having, and I want to address what’s going on so I can feel like I’m in a more productive, positive place in the future.” He doesn’t have the words or the power. He isn’t even allowed to be frustrated. The humanity of the play constantly keeps us in check.

What of yourself have you brought to the role?

I don’t know how to answer that, but the director, Linda May, has a very unique perspective because she’s also an actor. She’s able to move us along in a way that is actor logic. She’s put some difficult observations in front of us. One of mine was that my voice would tend to rise in pitch, and she would tell me to bring it down because it didn’t sound grounded. It was like I was a slave-type character with no spine. I have to work very hard in my own mind to not think, “This feels too simple.” Not everything is Shakespeare or has that kind of depth. If you want to see bits of my personality, maybe you’ll find them if you see the show, I don’t know.  

Why do you think ‘Driving Miss Daisy’ has been so successful over the years?

I think part of why Daisy Werthan and Hoke Coleburn are so lovable as characters is because when the show begins, they couldn’t do anything about the circumstances they were in and had been born into. But by the end of the show, both of them have made a tremendous arc that many people in their situations wouldn’t have accomplished. Many Jewish women had black hired help and there was no evolution to their relationships. And someone like Hoke would have never had an opportunity to develop friendships with the people they worked for. 

Daisy and Hoke have a spirit within them − Daisy being hard and inflexible, Hoke being this bundle of positivity that wants to get along − and they managed to change when so much in their world was terrible. They were able to see great things in each other, and sometimes that’s the hardest thing to do. We label each other and put them in categories and we don’t have to think about them again … but through sheer force of will, they overcome.

Why should people come see this show?

Alfred Uhry has written a timeless, celebrated and well-performed 90-minute slice of history. It’s a great writing that shows people don’t have to be perfect as long as they keep trying, and it’s when we stop listening to one another that things get messy. It shows that people are at their best when they listen. 

“Driving Miss Daisy” will run from Jan. 11 through Feb. 1 at Theatre Three, 412 Main St., Port Jefferson. Tickets range from $20 to $35. To learn more or to purchase tickets, visit www.theatrethree.com or call 631-928-9100.

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Above, from left, Rumpleteazer (Naoimh Morgan), Victoria (Francesca Hayward) and Mungojerrie (Danny Collins) in a scene from Cats. Photo courtesy of Universal Pictures

By Jeffrey Sanzel

In 1939, T.S. Eliot published a slender volume of poetry: Old Possum’s Book of Practical Cats. Fast-forward just over 40 years and Andrew Lloyd Weber’s megahit Cats premiered in the West End, where it played for 8,949 performances, becoming the longest-running West End musical, a record it held until 2006. The Broadway production opened in 1982 and ran for 7,845 performances; it is now the fourth longest-running Broadway show. Cats went on to be seen internationally, playing in dozens of countries and languages.  

In 1998, a direct-to-video production was shot at London’s Adelphi Theatre. While significant cuts were made and it was played on a new set, it gives a sense of the stage production. 

Cats has always been a divisive musical, dividing into two distinct camps: It has its champions and its detractors, with few in the middle ground.

Judi Dench as Old Deuteronomy in a scene from the film. Photo courtesy of Universal Pictures

The current offering of Cats many lives is the film directed by Tom Hooper with a screenplay by Hooper and Lee Hall. This means that Hooper is doubly responsible for what is on the screen. And while Hooper’s work has included the John Adams miniseries, The King’s Speech and The Danish Girl, Hooper also gave us the clumsy, bloated and wholly unsatisfying 2012 Les Misérables.

The plot of Cats — such as it is — tells of the Jellicle Ball, an annual gathering of cats where one is granted the chance to go the Heavyside Layer and rewarded with a new life. Here, it is told through the eyes of Victoria, an abandoned kitten. All of this is just a structure in which to introduce a range of cats who each pitch their right to be granted this wish, their individuality displayed through a series of musical turns. Throughout, the candidates are thwarted by the mysterious Macavity, whose nefarious plan is made clear fairly early on.

The film opens strongly with one of the best numbers from the show,“Jellicle Cats.” It manages to provide cinematic spectacle without losing its musical theater roots. Ultimately, it was when Hooper allows Broadway to come through, the movie finds its limited success. When the cast dances, there are moments of real celebration. Unfortunately, after the first 10 minutes or so, he decided to not trust the material, and the film becomes choppy, disconnected and feels overlong. There is an unnecessary slapstick, singing rats and dancing cockroaches. These elements are neither whimsical nor clever and enhance neither story nor spectacle.

The film boasts a number of high profile names. Rebel Wilson as Jennnyanydots and James Cordern as Bustopher Jones are ill-served by aggressively abrasive choices — novelty songs that are stripped of their charm and turned grotesque. Idris Elba fairs decently as the ominous Macavity, and Taylor Swift, as his henchperson, Bombalurina, is not given much to do but her one decently executed number. 

Judi Dench, as feline matriarch Old Deuteronomy, and Ian McKellen, as Gus the Theatre Cat, are channeling everything they’ve done for the past five decades and come out best. Jennifer Hudson, as the downtrodden Grizabella, is too overwrought and loses the sympathetic core of “Memory.” Newcomer Francesca Hayward functions nicely as Victoria the catalyst for the action (no pun intended). 

What is most surprising is that the voices in general are pleasant but not strong, which is an odd choice for an almost sung-through film. (The less said about the dialogue that has been shoe-horned in, the better.)

However, the biggest problem — and it is insurmountable — is the overall visual of the film. The characters have been strangely CGI-ed, and they come across neither as humans or cats but as some Island of Dr. Moreau hybrids. There is an unfinished quality to the faces, as if they are poking their heads through a Coney Island cut-out. The bodies are clearly feline but some are clothed and some are not, sending a bizarre and uncomfortable mixed message.

There is no commitment to what the audience is supposed to be seeing and the result is disturbing. Why the creators did not take a page from the stage production is a mystery for at least then they could have found an aesthetically pleasing or least unifying design.

There has been discussion of a Cats film since the musical first became popular. Given the nature of the source, it is a challenging one. And while the play will continue to prowl stages across the world, the film will surely be a strange and unpleasant footnote in the history of movie musicals.

Rated PG, Cats is now playing in local theaters.

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‘Boeing, Boeing’ starring Mark Santaromita, seated, and back row, from left, Karen Santaromita, Ashley Moyett and June Damadeo, heads to Star Playhouse in Commack on Jan. 11.  Photo by Gene Indenbaum

ON THE RUNWAY

What better time to jet away to a getaway in Paris than January? And if you can’t do it literally, than hop on board Boeing Boeing, the comedy farce set in gay Paree and opening at Star Playhouse at the Suffolk Y-JCC on Saturday, January 11. This madcap, laugh-out-loud production, listed in The Guinness Book of Records as the most-performed French play throughout the world, had an original run and revival on Broadway where it won two Tonys.

The setting is the Parisian pad of architect Bernard (Mark Santaromita of Huntington). Bernard is a charmer – in fact he has three fiancées, all airline hostesses; his Italian amore Gabriella (Karen Santaromita, Huntington), his American beauty Gloria (Ashley Moyett, Jericho), and his gregarious German Gretchen (June Damadeo, Northport). And Bernard is a master at juggling their estimated times of arrival without a hitch. But turbulence develops in the form of his old college pal, Robert, a rube from Wisconsin (Steve Brustein, Manhasset), coupled with some weather delays and the enhanced speed of the Boeing fleet. Bernard is befriended and belittled by Berthe, his French maid (Suzie Lustig, Greenlawn). Soon, Bernard has to wing it as he is frantically propelled toward disaster by the simultaneous arrival of his three seductive stewardesses. Boeing Boeing is directed by Jim Redding of Northport and produced by Sandy Lory-Snyder of Hauppauge.

Star Playhouse at the Suffolk Y-JCC is located at 74 Hauppauge Road, Commack 11725. Performance dates are Saturdays January 11 and 25 at 8:00 pm, and Sundays January 12, 19 and 26 at 2:00 pm. Ticket prices are $25.00 for the general public and $20 for seniors, students and Suffolk Y members. The theater is handicapped accessible, has a hearing assistance system and ample free parking. Tickets are available online at www.starplayhouse.com or syjcc-performingartscenter.eventbrite.com, or may be ordered by calling the Box Office at 631-462-9800 ext. 136.  Group rates are available.

 

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Spinach with Raisins and Pine Nuts

By Barbara Beltrami

Recently faced with a 2½-pound bag of spinach, I was reminded of a visit with my friend at her wine estate in Tuscany where after cooking with her, I came away with a whole new attitude about and repertoire for spinach. In the ways she prepared it, it was a far cry from the plain old green stuff boiled or microwaved or taken out of a can. In fact, the things she did with it were such treats that second helpings were de rigueur. Consider these adaptations of her recipes, which move spinach to a sublime and savory taste echelon.

Spinach with Raisins and Pine Nuts

YIELD: Makes 6 servings.

INGREDIENTS:

2½ ounces unsalted butter

2 pounds fresh spinach, washed, drained and squeezed dry

Salt and freshly ground pepper to taste

2 ounces golden raisins, soaked in warm water 10 minutes and drained

2 ounces pine nuts, lightly toasted

DIRECTIONS: 

In large skillet, melt butter, add spinach and salt and pepper and cook over medium heat about 5 minutes. Stir in raisins and pine nuts and cook over medium low heat a few more minutes. Serve with meat, poultry or fish.

Pasta with Spinach, Gorgonzola and Mascarpone Cheese

YIELD: Makes 4 to 6 servings.

INGREDIENTS:

1 pound pasta such as penne, rigatoni or ziti

1 pound fresh or frozen spinach, cooked, drained, squeezed dry and chopped, liquid reserved

½ pound Gorgonzola cheese, diced

2 ounces mascarpone cheese

1 ounce grated Parmesan or pecorino cheese

Freshly ground black pepper

DIRECTIONS: 

Cook pasta according to package directions. Boil one cup of reserved spinach liquid (if not enough, add pasta cooking liquid). Meanwhile put the cheeses and pepper into a heat-proof pasta bowl; mash them together with a fork until they are well blended. While it is still hot, put cooked pasta in bowl with cheeses; add spinach and toss vigorously to combine; if sauce is too thick add a little of the spinach liquid and toss again. Serve immediately with a chilled dry white wine. 

Little Spinach and Gruyere Soufflés

YIELD: Makes 8 servings.

INGREDIENTS:

1 ounce unsalted butter plus extra for greasing individual soufflé dishes

1 ounce flour

1 cup boiling milk

2 pounds fresh spinach, washed, cooked, squeezed dry and finely chopped

Salt, pepper and nutmeg to taste

4 large eggs, separated

7 ounces Gruyere cheese, diced

2 tablespoons grated Parmesan cheese

Dried breadcrumbs

DIRECTIONS: 

Preheat oven to 375 F. In small saucepan melt butter. Stir in flour, then slowly add hot milk; stirring constantly, cook mixture for 5 minutes; add spinach, salt, pepper and nutmeg; stir and let cool. With wire whisk, stir in egg yolks, Gruyere and Parmesan. Beat egg whites until stiff; gently fold into mixture. Grease individual soufflé molds and dust with breadcrumbs. Place equal amounts of mixture into each soufflé dish; bake 20 minutes; serve immediately with thin breadsticks

Ricotta and Spinach Gnocchi

YIELD: Makes 8 to 10 servings.

INGREDIENTS:

2 ounces unsalted butter

2 pounds cooked fresh spinach, drained, squeezed dry and finely chopped

1 pound ricotta

5 ounces sifted flour

5 ounces grated Parmesan cheese

2 tablespoons breadcrumbs

3 egg yolks plus 1 whole egg

Salt and freshly ground pepper to taste

Grated nutmeg to taste

1 ounce melted unsalted butter

4 sage leaves, minced

2 tablespoons grated Parmesan cheese

DIRECTIONS: 

In large skillet, melt the two ounces of butter; add prepared spinach and, stirring frequently, cook 5 minutes. Put spinach in a large bowl; add ricotta, flour, 5 ounces Parmesan, breadcrumbs, egg yolks, egg, salt and pepper and nutmeg; mix to thoroughly combine; refrigerate for one hour. Remove mixture from fridge and roll into little balls (about 1- to 1½-inch in diameter). Carefully drop balls into pot of gently boiling salted water and cook 4 to 5 minutes. Preheat broiler. With skimmer remove balls, drain well and place in a greased ovenproof dish. Dot with melted butter and sage, sprinkle with remaining two tablespoons of grated Parmesan and place under hot broiler a few minutes to lightly brown. Serve hot with a mixed salad.

 

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Photo from Suffolk Federal

In an effort to support the charitable work of local organizations that serve the areas of Suffolk Federal branch locations, the credit union has identified nonprofit organizations to which provide financial support. In Port Jefferson, Branch Sales Director of Retail Banking Micah Schlendorf presented a $1,000 contribution to Theatre Three in December.

“Theatre Three not only brings incredible entertainment to the community, but continues to provide educational opportunities to local students,” said Schlendorf. “We are extremely proud to be able to support their efforts.”

“We’re so thankful to Suffolk Federal for their support and generosity,” said Jeffrey Sanzel, executive artistic director of Theatre Three. “These funds will specifically go towards our educational touring program that we present in schools and community centers across the tri-state area. To date, The Bullying Project: Stand Up! Stand Out!, Class Dismissed and From the Fires: Voices from the Holocaust have brought awareness to thousands of students. This donation will assist the Theatre in continuing these efforts.”

Celebrating its 50th season at the historic Athena Hall in Port Jefferson, Theatre Three has continued to bring Broadway to Main Street and offers the community a robust variety of programming that includes Mainstage, Second Stage, Cabaret, Children’s Academy and workshops. They present a diverse portfolio of both classic and modern revivals all while providing an educational environment to all in the community. 

Pictured from left, Douglas Quattrock, Theatre Three’s director of development and artistic associate; Catherine Rodgers, Suffolk Federal mortgage loan originator and a member of Theatre Three’s Box Office staff; Jeffrey Sanzel, Theatre Three’s executive artistic director; and Micah Schlendorf, Suffolk Federal branch sales director of retail banking.

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Lance Reinheimer

Lance Reinheimer, executive director of the Suffolk County Vanderbilt Museum since February 2011, has resigned to accept a new post as director of the Suffolk County Legislature’s nonpartisan Budget Review Office. 

Among the numerous achievements of his nearly nine-year tenure, Reinheimer stabilized the museum’s finances; developed new revenue streams; totally renovated the Vanderbilt Planetarium and created a state-of-the-art facility equipped with the latest technology; expanded special-events programming; significantly increased attendance and memberships; accomplished wide-ranging infrastructure and restoration work on several major museum buildings; and directed the intensive, year-long review that resulted in reaccreditation by the American Alliance of Museums. 

Elizabeth Wayland-Morgan, associate director of the museum since 2016, will serve as interim executive director and assume Reinheimer’s responsibilities until the post is filled.

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Stock photo

Time to share the warmth. From now to Jan. 31, St. Catherine of Siena Medical Office Building, 48 Route 25A, Smithtown is hosting a Winter Clothing Drive to help local parishes and neighbors in need. New or gently used items most needed are towels, bed sheets, winter boots, children’s socks, washable blankets and coats, and adult and children pajamas. Please no stains, broken zippers or missing buttons! Questions? Call 631-862-3523.

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