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Jeffrey Sanzel

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Brendan Fraser in a scene from ''The Whale' Photo courtesy of A24

Reviewed by Jeffrey Sanzel

In 2012, Samuel D. Hunter’s The Whale premiered off-Broadway at Playwrights Horizons. It won both the Drama Desk and the Lucille Lortel Awards for Outstanding Play. Hunter has adapted his play for the screen in a compelling film directed by Darren Aronofsky.

The film opens with Charlie, a morbidly obese college professor, teaching online from his Idaho apartment. While Charlie urges his students to write from a place of truth and honesty, he leaves his camera off so they cannot see who he really is. His friend Liz, a nurse with personal ties to Charlie’s history, urges him to go to the hospital as he is bordering on congestive heart failure. Charlie refuses, citing a lack of health insurance and the fear of incurring huge debts.

Charlie spends his days grading papers, eating, and struggling with declining health. Thomas, a missionary from the New Life Church, visits, attempting to bring him to God. Charlie’s only other outside interaction is with the Gambino’s pizza delivery man, Dan, with whom he speaks through the closed door.

Knowing that his time is limited, Charlie reaches out to his estranged daughter, Ellie. Charlie had not seen the girl since he left her and her mother, Mary, for Alan, one of his continuing ed students. 

A dysfunctional family drama ensues that touches on depression, suicide, religion, money, and homophobia. For the screenplay, Hunter hewed closely to his original work. The play was set entirely in Charlie’s living room, and Aronofsky wisely opts to keep most of the action in the dark, cluttered room, only opening up to the apartment’s additional rooms and the porch (though Charlie never goes beyond the threshold).

The film is not subtle in its storytelling and metaphors. The titular “whale” refers to Moby Dick—both Charlie and a student essay he rereads obsessively. Nevertheless, The Whale derives strength from exceptional performances from its ensemble cast. 

The connection between Liz and Charlie is central to his survival, and Hong Chau balances her love and frustration as Charlie’s only direct contact with the outside world. She frets over his health but is a not-so unwitting enabler. Sadie Sink brings multiple shades of anger and darkness to Ellie, showing her pain but also an almost sadistic need to manipulate. 

Ty Simpkins, as Thomas, avoids cliché and makes the later revelations valid and believable. Samantha Morton appears in one scene, imbuing Mary, the alcoholic ex-wife, with the right sense of hurt and damage. But, at the center of the film is Brendan Fraser as Charlie.

Fraser’s early career included Dogfight (1991), Encino Man (1992), and School Ties (1992). He is best known for The Mummy series (1999, 2001, 2008), with other movies ranging from Dudley Do-Right (1999) and Blast from the Past (1999) to Journey to the Center of the Earth (2008) and No Sudden Move (2021). Certainly, none of these prepare audiences for the heartbreaking depth of this performance.

Going beyond the physical challenges, Fraser makes Charlie a complicated figure. He alternates between a resigned need to apologize—his litany of “I’m sorry, I’m sorry, I’m sorry …”—and a passionate desire to see the good in people (specifically, the mercenary Ellie, who may or may not warrant this faith). 

Harrowing moments include a choking fit and a pizza binge—each horrifying and gut-wrenching in its own way. But they are no more painful than Ellie’s malevolent, “I’m not spending time with you. You’re disgusting.” And his cry, “Who would want me to be a part of their life?” Even his struggle to stand and cross the room resonates with a deep hurt. Fraser never loses sight of Charlie’s humanity, creating a dimensional, unforgettable performance. 

Fraser has already won twenty awards, an equal number of additional nominations, and another dozen pending, including the Oscar for Best Actor.

However, the film has been in the crosshairs of two controversies. Fraser’s casting required him to wear nearly three hundred pounds of prosthetics. This raised questions about why a more appropriately sized actor was not selected. (Shuler Hensley, who appeared in The Whale off-Broadway, was also heavily padded for the role.)

In addition, the character itself has stoked ire in various sectors. “Some of the film’s critics believe it perpetuates tired tropes of fat people as suffering, chronically depressed and binge eating.” (Time Magazine, December 9, 2022) Appropriately, Aronofsky’s career has included a range of controversial films, including Requiem for a Dream, Black Swan, Noah, and Mother!

These challenges aside, the film and its key performance are more than worthy of viewing. At its heart, The Whale asks: Can anyone save anyone? The Whale is a disturbing, extraordinary exploration that leaves the question unanswered. 

Rated R, the film is now playing in local theaters.

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A scene from 'The Town Mouse and the Country Mouse'. Photo by Peter Lanscombe/Theatre Three Productions, Inc.
A scene from 'The Fisherman and His Wife'. Photo by Peter Lanscombe, Theatre Three Productinons, Inc.
A scene from 'The Lion and the Mouse that Returned the Favor'. Photo by Peter Lanscombe/Theatre Three Productions, Inc.
A scene from 'Henny Penny'. Photo by Peter Lanscombe/Theatre Three Productions, Inc.
A scene from 'As Stubborn As A Mule'. Photo by Peter Lanscombe/Theatre Three Productions, Inc.
As scene from 'The Tortoise and the Hare.' Photo by Peter Lanscombe/Theatre Three Productions, Inc.
'A scene from Henny Penny'.Photo by Peter Lanscombe/Theatre Three Productions, Inc.
A scene from 'The Bremen Town Musicians'.Photo by Peter Lanscombe/Theatre Three Productions, Inc.
The cast of 'The House That Jack Built'. Photo by Peter Lanscombe/Theatre Three Productions, Inc.

By Heidi Sutton

Each time I go to review a children’s show at Theatre Three I am amazed at what I witness; from the performance of an original musical, to the audience reaction, to the lessons that are learned, to meeting the cast at the end of the show. Last Saturday’s production of The House That Jack Built was no exception. 

Written by Jeffrey Sanzel and Douglas J. Quattrock, the play features seven stories inspired by the Brothers Grimm and Aesop’s Fables. It originally opened in 2007 but has been revamped with a brand new score and dazzling lighting design. The end result is pure entertainment. 

Directed by Jeffrey Sanzel, and starring Sean Amato, Samantha Fierro, Jason Furnari, Kaitlyn Jehle, Danielle Pafundi and Steven Uihlein, the show opens where six friends are hanging out in a beach cottage on a rainy day. Bored, they decide to have some fun and after reciting the timeless nursery rhyme, The House That Jack Built, they invite the audience to visit “some special places to see some special faces.” They proceed to act out The Lion and the Mouse That Returned a Favor, The Fisherman and His Wife, The Town Mouse and Country Mouse, Henny Penny, Stubborn as a Mule, The Tortoise and the Hare and The Bremen Town Musicians. 

While all of the stories are wonderful, one of the best is The Fisherman and His Wife where the fisherman (Jason Furnari) catches a magical fish (played to the hilt by Steven Uihlein) who agrees to grant him a wish if he is released back into the ocean. After wishing for a beautiful home, his wife (Danielle Pafundi) gets greedy and sends the fisherman back to ask for a castle, to be king and then to become the Lord of the Sun and the Moon. But it all ends with one too many wishes.

The Town Mouse and the Country Mouse is almost too adorable for words. The Town Mouse (Steven Uihlein with a Brooklyn accent) visits his cousin (Samantha Fierro in a Southern accent) in the country but finds it very boring. Before leaving, he invites her to visit him in the city. Shortly after arriving, the Country Mouse is bombarded with sensory overload and dangers lurking at every turn. Oh, did I mention this story is acted out entirely in rhyme? 

But the audience favorite hands down is the hilarious rendition of The Tortoise and the Hare. Bullied by the Hare (Sean Amato) “You have two speeds; slow and stop,” the Tortoise (Jason Furnari) challenges the Hare to a race. Sprinting through the theater, the Hare decides to take a nap in one of the seats. As much as they try, the audience cannot wake him and the tortoise, cheered on by the kids, meanders through the aisles and back on stage with a big grin to cross the finish line in slow motion. Great stuff.

The actors take turns narrating the stories while the remaining cast quickly changes costumes and act out the parts. A nice touch is the audience participation — helping to be waves in the ocean in A Fisherman and His Wife, and raising their index finger every time the actors say ‘I have an idea’ in The Bremen Town Musicians — which keep the young audience captivated at the edge of their seats.

Utilizing the mainstage set of The Sweet Delilah Swim Club, superb lighting design by Steven Uihlein, original rap songs arranged by Ryan Alvarado, expert piano accompaniment by Douglas J. Quattrock and the cute costumes by Jason Allyn tie everything together. 

Funny, clever , brilliant and beautifully executed, The House That Jack Built is not to be missed. Your children are guaranteed to love it.

Theatre Three, 412 Main St. Port Jefferson presents The House That Jack Built through Feb. 4. Running time is one hour and 20 minutes with one 15 minute intermission. Children’s theater continues with Dorothy’s Adventures in Oz from Feb. 22 to March 18, The Adventures of Peter Rabbit from April 5 to 29 and the classic fairytale Cinderella from May 27 to June 17. All seats are $10. To order, call 928-9100 or visit www.theatrethree.com.

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Tom Hanks and his furry costar Schmagel in a scene from the film. Photo by Niko Tavernise/Columbia Pictures

Reviewed by Jeffrey Sanzel

Fredrik Backman’s A Man Called Ove (2012) spent forty weeks on the New York Times Best Seller List. First published in Swedish, the English version received almost unanimous raves. The author attributed his inspiration to a newspaper article about a man named Ove who had created a stir while purchasing tickets at an art museum. As a result, Backman created a series of blog posts: “I am a Man Called Ove.” Here, he vented about the world’s many minor aggravations. Eventually, this became the source of the book.

The novel’s Ove is a curmudgeon of the first order. A rule follower, he adheres with almost religious fervor to the letter of the law. He is also deeply mourning for his wife, who passed away six months before the story starts. Forced into retirement, he sees nothing to live for and is determined to end his life so that he may join her. However, a chance encounter with his new neighbors changes his entire course. Reluctantly, Ove becomes drawn into their day-to-day drama and becomes a hesitant but invaluable ally. This involvement shifts Ove’s view of life, and he finds new purpose, mending fences and making changes.

A Swedish film, adhering closely to the source material, was adapted and directed by Hannes Holm, and starred Rolf Lassgård as Ove. Released in 2016, the well-received film was nominated for Best Foreign Language Film and is now Sweden’s third-most-watched Swedish theatrical film of all time. 

In 2017, it was announced that Tom Hanks would star in an English-language remake. (He is also a co-producer, along with his wife, Rita Wilson, Fredrik Wikström Nicastro, and Gary Goetzman). The danger of the material is leaning into its sentimentality and eschewing the darker tones. 

Director Marc Forster (Finding Neverland, Christopher Robin) and screenwriter David Magee (Finding Neverland, Life of Pi) have marginally avoided too gooey a center. While maintaining the plot and most details, this incarnation is distinctly more emotional than the novel or the Swedish version. However, taken for itself, A Man Called Otto is a surprisingly fast-paced, heartfelt two hours and a worthwhile journey. If there are moments that might feel saccharine, the end is both rewarding and cathartic.

The story revolves around Otto, first seen buying five feet of rope sold by the yard. He argues that he does not want to pay the additional thirty-three cents. Even though planning on using the rope to end his life—and clearly, the change would not make a difference to his future—he obsesses on principle. The scene establishes the man and his views.

Each day, Otto makes his morning rounds of the community. Neighbors attempt to engage him, but he responds, “I have too many things to do.” (This mantra will eventually shift from the negative to the positive.) While Backman’s Ove is taciturn, Hanks’ Otto borders on chatterbox, with a running commentary muttered under his breath. Occasionally, his vocalizations conjure an irate Mr. Bean. 

A few changes bring the film into the present: A gay character is now transgender. Social media becomes a force for good. But, overall, the throughline remains the same. 

The major narrative shift is in the use of flashbacks of Otto’s life. The book and earlier film reveal Ove’s history as a series of bad breaks, hard work, and patience. Important is his particular hate for the bureaucratic “men in the white shirts” responsible for many of the worst events in his life. In Otto, the flashbacks are used almost exclusively for his courtship, marriage, and life with Sonya (Rachel Keller). This obscures much of the causality in the story that showed Sonya bringing him out of his misfortunes. (Tom Hanks’ son Truman plays the young Otto, but his work fails to link the two Ottos.) Ove is a man marinated in sourness. Conversely, one suspects Otto is a false Grinch, masking his too-large heart.

Of course, the film’s purpose is Tom Hanks. Tom Hanks is the great American Everyman, so his Otto becomes not a scarred survivor but a reflection of what anyone would become from this loss. Like Jimmy Stewart, Hanks is unique because he manages to be all of us but wholly himself. Different from Backman’s Ove, Hanks makes Otto his own. 

There is a wonderful eclectic nature to the neighborhood residents. In particular, Mariana Treviño brings humor and grounding to Marisol, the new neighbor. In addition, Treviño offers a warm but knowing presence, suspecting that there is more going on with Otto than he shows. 

The interactions between Treviño and Hanks are the highlights of the film. (Christiana Montoya and Alessandra Perez deserve special mention for playing her children with an energy that is neither precocious nor shrill.)

In the end, A Man Called Otto is a different, if gentler, take on a touching, tender, and uplifting tale. 

Rated PG-13, the film is now playing in local theaters.

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Photo by David Ackerman

By Leah S. Dunaief

Leah Dunaief

Maybe it sounds like I’m tooting our horn too much, but I have to say how proud I am of the columnists who write for our papers and website. They are clearly bright and offer the reader information and knowledge that aren’t usually found even in a big metro daily or a glossy magazine. They are, collectively and individually, one of the main reasons our hometown newspapers have managed to survive while so many of our colleagues, 25% of them in the nation, have had to shut their doors.

Readers want to learn from our regular columnists, who, by the way, are local residents. That’s not surprising, though, because the population we serve is exceptional, accomplished in their own right, and can be expected to harbor such talent. Let me explain.

The columnists are found in the second section of the newspaper, called Arts & Lifestyles. In the interest of full disclosure and without false modesty, I point out and salute my youngest son, Dr. David Dunaief. He is a physician totally committed to helping his patients, and the high regard is returned by them in equal measure, as testimonials about him confirm. In addition, he writes every week about current medical problems and brings readers up to date with the latest research and thinking regarding common ailments. I know him to be a voracious reader of medical journals and he footnotes his sources of expertise at the end of every “Medical Compass” column. 

Dr. Matthew Kearns is a longtime popular veterinarian who writes “Ask the Vet,” keeping our beloved pets healthy. Michael E. Russell is a successful, retired financial professional who cannot cut the cord with Wall Street, and  shares his thoughts on the economy and suggesting current buys on the stock market. He will also throw in something irreverent, or even askance, to keep you tuned in. 

Also writing knowledgeably on the contemporary scene about finance and the economy is Michael Christodoulou, who is also an active financial advisor. Ever try to read your auto insurance policies? If I had trouble falling asleep, they would knock me out by the second paragraph. Enter A. Craig Purcell, a partner in a long-established local law firm, who is attempting to explain auto insurance coverage, a merciful endeavor, with his column. His words do not put me to sleep. Shannon Malone will alternate the writing for us. Michael Ardolino, a well-known realtor, somehow manages to make both ends of a real estate transaction, for buyers and sellers, sound promising at this time. 

Our lead movie and book reviewer is the highly talented Jeffrey Sanzel. In addition to being a terrific actor, he is a gifted writer and almost always feels the same way about what he is reviewing as I do. No wonder I think he is brilliant.  Father Frank has been writing for the papers for many years and always with great integrity and compassion. 

John Turner, famous naturalist and noted author and lecturer, keeps us apprised of challenges to nature. This is a niche for all residents near the shorelines of Long Island. He also writes “Living Lightly,” about being a responsible earth dweller. Bob Lipinski is the wine connoisseur who travels the world and keeps us aware of best wines and cheeses.

Lisa Scott and Nancy Marr of the Suffolk County League of Women Voters, keep us informed about upcoming elections, new laws and important propositions. Elder law attorney Nancy Burner tells us about Medicare, estate planning, wills gifting, trustees, trusts and other critical issues as we age.

The last columnist I will mention is Daniel Dunaief, who, like bookends for my salute, is also my son. Among several other articles, he writes “The Power of Three,” explaining some of the research that is performed at Stony Brook University, Brookhaven National Labs and Cold Spring Harbor Laboratory. He makes a deep dive into the science in such a way that layman readers can understand what is happening in the labs. He has been paid the ultimate compliment by the scientists for a journalist: they pick up the phone and willingly talk to him, unafraid that he will get the story wrong or misquote them. In fact, he has been told a rewarding number of times by the researchers that his questions for the articles have helped them further direct their work.

When my sons began writing for TBR News Media, a few readers accused me of nepotism. I haven’t heard that charge now in years.

P.S. Of course, we can’t forget Beverly C. Tyler and Kenneth Brady, stellar historians both.

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Trinity Bliss, as Tuk, in a scene from Avatar: The Way of Water. Photo courtesy of 20th Century Studios

Reviewed by Jeffrey Sanzel

Released in 2009, Avatar took in over $2.9 billion, making it the highest-grossing film of all time. The brainchild of James Cameron, who wrote, directed, and produced, Avatar received nine Academy Award nominations and won three: Best Art Direction, Best Cinematography, and Best Visual Effects. It won the Golden Globe for Best Motion Picture and Best Director, and garnered other major awards and nominations.

Over a decade later, Avatar: The Way of Water arrives in theaters with many of the same strengths: exceptional visual artistry, extraordinary special effects, and thrilling action sequences. This time, Cameron collaborated with Rick Jaffa and Amanda Silver on the screenplay (with “story by” credits adding Josh Friedman and Shane Salerno). 

Avatar: The Way of Water, a spectacle of the first order, is many things. It is also too long. Whether by twenty minutes or an hour and twenty minutes, this epic desperately sags in the middle. The original Avatar is a long film that runs two hours and forty-two minutes. Avatar: The Way of Water clocks in at three hours and twelve minutes. Is this too much of a good thing or just too much? The reality is that it is an unnecessarily extended three hours. That said, for the pure beauty of vision, it lands in the win column.

Much of the film plays like a reboot of Avatar, except this time underwater. As a result, it plays the assumption of an audience familiar if not fully aware of the background. (To a certain extent, the history is referenced and recapped in the first thirty minutes.) 

The story picks up fifteen years following the end of the first film. Jake Sully (Sam Worthington) is now chief of the Pandora tribe Omaticaya, raising a family with his wife, Neytiri (Zoe Saldaña). They have two sons, Neteyam (Jamie Flatters) and Lo’ak (Britain Dalton), daughter Tuk (Trinity Bliss), and adopted daughter Kiri. The latter was born from Grace Augustine’s (Sigourney Weaver) inert avatar. Added to the family mix is a human boy, Spider (Jack Champion), who is the son of Colonel Miles Quaritch (Stephen Lang).

The Resources Development Administration (RDA) has returned to Pandora to pave the way for human colonization for a dying Earth. Na’vi avatars have been implanted with the minds and memories of deceased soldiers, with Quaritch ruthlessly leading the group. After Sully leads an attack on the RDA, Quaritch captures Jake’s children. Sully and Neytiri rescue them, but Quaritch realizes that Spider is his son and draws him in to help with his knowledge and navigation of the Na’vi. 

Meanwhile, Sully and his family flee the Omaticaya forest and hide with the Metkayina, a clan spiritually connected to the sea. While initially rejected by the Metkayina, the family eventually integrates. After a series of adventures and clashes, the film builds to a staggering thirty-plus-minute climax of jaw-dropping action. 

Thematically, like its predecessor, Avatar: The Way of Water addresses larger issues. While not approached with any subtlety, the concept of wanton plundering of natural resources and the callous destruction of an indigenous people play clearly. 

Likewise, the unwelcome and unwanted outside force annihilates for commercial gain. Embodied by the RDA’s almost carelessly sadistic General Ardmore (Edie Falco), the military destroys everything in its path. Whether devastating wildlife or destroying homes, the overwhelming and relentless insensitivity is always at the center.

The acting is fine—neither terrible nor remarkable. While the Na’vi are CGI-ed, the characters relate a range of expressions matching the vocalized emotions, allowing the viewer to believe them to be as real as their human counterparts. In addition, the meticulous detail accomplishes more than just ciphers but individuals with drive, humor, fears, and desires. 

Lo’ak (Britain Dalton) with Payakan. Photo courtesy of 20th Century Studios

The filmmakers have done miraculous work in the creation of sea creatures. Particularly wonderful is Payakan, who rescues one of Sully’s children. Payakan is a Tulkun, an intelligent aquatic mammal (resembling a whale). The creators have embodied this creature with a reality that makes it noble and sympathetic. Again, the film’s strength is in imaginative world-building.

At its heart, Avatar: The Way of Water wants to celebrate family and community and the ends to which we go to protect those we love. The story strives for honesty and integrity, enhanced by astonishing visuals. And while the running time is excessive (and perhaps off-putting), the final film is still a work of art. And if not great art, the film is spectacular craft. 

Rated PG-13, the film is now playing in local theaters.

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Reviewed by Jeffrey Sanzel

“I love you, come for dinner! Isn’t that invitation we all want to hear? It promises an evening of good food, warm conversations, and the chance to share our lives with family and close friends.” The wonderful Ina Garten, best known as The Barefoot Contessa, opens her excellent new cookbook, Go-To Dinners (Penguin Random House/Clarkson Potter), with this call to celebration. Leading with community, she addresses the power of connection that meals bring. 

Garten’s most accessible work to date, the book offers seventy-eight detailed and plainly articulated recipes: “Make ahead, freeze ahead, prep ahead, easy, assembled.”

Go-To Dinners is just that. As with Modern Comfort Food, Garten acknowledges the desire for ease in challenging times. Specifically, she embraces the need for the occasional modest approach. “When I planned a party before the pandemic, it was always a multicourse extravaganza. But then the pandemic happened and everything seemed like so much work. I started making simple dinners for [my husband] Jeffrey and me. I often made a lighter, easier, all-in-one dinner.” 

In addition, the experiences of the last two years changed her point of view on leftovers — something she had previously disliked — repurposing one dinner into the next. “… I tried to think of new ways to be creative with what I had on hand. It became like a game to see how many different meals I could get out of the dinners I was cooking!” Throughout, she even suggests various “two-fers” (such as putting the leftover Mussels with Saffron Cream into the One-Pot Oven Risotto). 

English Cream Scones

She smartly breaks the book into six sections: drinks and apps; breakfast for dinner; light dinners (the largest chapter); family dinners; vegetables and sides; and desserts. Nothing seems overly complicated, and the directions, as always, are clear. “And just because a recipe is easy to make, it shouldn’t skimp on flavor or style.” 

There are one-pot meals (as mentioned above) and others that take fewer than a quarter of an hour to cook. Some are supplemented with store-bought items, such as a pie crust that works better for a particular recipe. In addition, she has suggestions for boards made of purchased food (shown in inviting arrangements).

Garten proposes clever insights. The trick to pulling off cocktails is to prepare them ahead of time in a large pitcher; this provides more time with guests. Often, she updates classics (as with Creamy Hummus and Easy Oysters Rockefeller). Breakfast for dinner is the perfect answer to the love for breakfast food but acknowledging that mornings present time constraints. From the relatively simple Overnight Irish Oatmeal to the more demanding English Cream Scones, there is something for every level of cook. 

Eggs in Purgatory

Garten writes with ease and frankness. She is self-revelatory that she did not grow up loving family meals, which were grim, anxious affairs. Her passion for parties and dinners came later. Now, dinnertime marks the welcome end of the day, a time to relax and engage, an opportunity to be home. She draws on a skiing metaphor, encouraging risk-taking. “… avoiding failure means we miss out on the thrill of accomplishing something new”— whether on the slopes or in the kitchen. She also is not lacking in a sense of humor: witness the aptly named Eggs in Purgatory, with the eggs floating in a red sauce. 

Of course, the proof is in the eating. My good friend, Doug, kindly made the Lemon Linguine with Zucchini and Basil, a highly recommended dish. He reported that the dish came together easily. His plans include tackling the Oven-Roasted Southern Shrimp Boil; the Summer Skillet with Clams, Sausage, and Corn;  and the Creamy Chicken Thighs with Lemon and Thyme. He also has his eye on Slow-Roasted Tomatoes with Fennel, Parmesan Polenta; and Panettone Bread Pudding.

Enhancing Go-To Dinners are dozens of vivid and elegant photos from the sure and artistic eye of Quentin Bacon (who also provided the visuals for Modern Comfort Food). 

“Restaurant food is wonderful but there is something soul-satisfying about making and eating a real home-cooked dinner right at your own kitchen table.” Ultimately, Ina Garten’s Go-To Dinners is an exploration of stress-free cooking with dozens of creative, tasty options to be easily prepared, shared, and enjoyed.

Go-To Dinners is available at www.penguinrandomhouse.com, www.amazon.com and www.barnesand noble.com.

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From left, Jeffrey Sanzel, Andy Markowitz, Vivian Koutrakos and Douglas Quattrock at Theatre Three on Dec. 2. Photo by Heidi Sutton/TBR News Media

By Heidi Sutton

As the curtain came down at last Friday’s performance of A Christmas Carol at Theatre Three in Port Jefferson, Executive Artistic Director Jeffrey Sanzel stepped out of his role as Ebenezer Scrooge to be honored for his 1500th performance as the miserly curmudgeon. 

Addressing a packed house, the President of Theatre Three’s board of directors Andy Markowitz said, “Tonight is a very special night. We figured it out and [Sanzel] has played this role to close to a half a million people.”

Turning to Sanzel, Markowitz said, “Even though it’s the 1500th performance, and you’ve said this to me before, it might be the first performance to someone in the audience and that is why you always keep it fresh and you always bring your A-game. Throughout your performances you have shown how kindness and love to someone can change the world and change people’s lives forever.”

Markowitz, Managing Director Vivian Koutrakos, and Artistic Associate and fellow actor Douglas Quattrock then presented Sanzel with a special anniversary pin, a photo collage of the cast to commemorate the night and last, but not least, a new cane for Mr. Scrooge to help him get to the next 1500 performances.   

“On behalf of the cast and everyone here tonight, we want to thank you for taking us on this journey with you,” said Quattrock, who portrays Bob Cratchit in the play.

“To all the people who have been a part of this production, both onstage, backstage and in the audience for over 30 years, and I want to mention two people who are not with us but are always with us, Brent Erlanson and Ellen Michelmore, thank you all very much,” said Sanzel.

Theatre Three, 412 Main St., Port Jefferson presents A Christmas Carol through Dec. 30. For tickets, call 631-928-9100 or visit www.theatrethree.com.

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The Village of Port Jefferson reignited a time-honored tradition last weekend during its 26th annual Charles Dickens Festival.

Hundreds of community members, visitors, business groups and local organizations participated in the festivities from Friday, Dec. 2, to Sunday, Dec. 4. 

The show went on despite hard rains and gusting winds throughout the morning and early afternoon Saturday. Mayor Margot Garant, decked out in traditional Dickensian garb, commented on the turnout in the face of these conditions. 

“To me, it just shows how important this festival is to not just this community but kids coming from St. James and beyond who are coming to see Santa,” she said. “It’s just magic, and rain or shine we’re going to be doing Dickens.”

Deputy Mayor Kathianne Snaden concurred with this positive outlook, regarding the festival as another means for community-building. “It’s heartwarming to see everybody still supporting this festival,” she said. 

Trustee Stan Loucks commented on the uniqueness of the opportunities afforded through the festival and the steady growth of the events over its nearly three decades in existence.

“It’s grown every single year, and it’s just the most festive time of the year,” he said, adding, “I love the whole atmosphere, the village center. It’s a very special place, and I look forward to this every year.”

The program across all three days was loaded with special events featuring the various elements that formulate this distinct village’s character. The heart of Port Jeff was on full display, from its downtown business sector to its local history, public institutions and more.

At the Bayles Boat Shop, local shipbuilders showcased their ongoing work to construct a 25-foot whaleboat honoring the village’s Revolutionary War heritage. 

John Janicek, treasurer of the boat shop’s nonprofit arm, the Long Island Seaport and Eco Center, detailed how the whaleboat ties together various threads of Port Jeff’s historical roots.

“It not only ties in the historical aspect that Caleb Brewster performed here during the Revolutionary War and [the role] Port Jefferson played, but it also ties in our shipbuilding aspect, too,” Janicek said. “We’re getting a lot of support from the village on this. They see this as something the whole village can get their arms around and embrace, similar to the Dickens Festival.”

Over at the Drowned Meadow Cottage on the corner of West Broadway and Barnum, local historians greeted visitors with guided tours detailing Port Jefferson’s strategic position during the Revolutionary War. They shared stories of local patriots whose involvement in the Culper Spy Ring helped advance the cause of American independence.

Village historian Chris Ryon discussed how the Dickens Festival offers a platform to promote local history to residents and visitors alike.

“We take the people from Dickens and tell them how Port Jefferson was involved in the Culper Spy Ring,” he said. “It’s another group of people that we can bring in.”

Mark Sternberg, Culper Spy Ring historian at the Drowned Meadow Cottage, offered a unique take on Dickens. He remarked upon the intersection of the Dickensian and Revolutionary periods and how people today can relive tradition and rehear the lore of the past.

He said, referring to the American spies, “A lot of these people survived into the 1800s, and the stories of the American Revolution were told during the 1800s. For us to tell stories about the American Revolution as part of the Dickens Festival, it’s what they would have done.”

The historian added, “It’s keeping with the tradition of telling a story about the founding of our nation, even in later periods. Now Charles Dickens may not have talked about it because he was British, but here in America during the Victorian era, we would have.”

Along with stories of the past, the village exhibited the musical talents of local students. At the Port Jefferson Free Library, the Edna Louise Spear Elementary School chamber orchestra delivered moving string performances, filling the library with festive tunes.

Their music teacher, Christian Neubert, summarized this Dickens custom. “For a number of years now, we’ve been coming to perform here at the library during the Dickens Festival,” he said. “It’s a great opportunity to get our students out for a performance and to get the community involved with our music program.”

Jessica Schmettan, superintendent of schools for Port Jefferson School District, was among the dozens of audience members at the library. She expressed pride in seeing the students perform before their fellow community members.

“It’s just amazing that our students can be performing in the village in which they live,” she said, adding that the festival “gives them a different avenue to perform in, not just the auditorium or the classroom but in front of a real audience.”

At Suffolk Lodge No. 60 on Main Street, the oldest Masonic lodge on Long Island, brothers treated guests to magic shows and a dance festival. Downstairs, they served freshly baked cookies and hot chocolate.

Chris Connolly, master of the lodge, said the lodge dates back to the late 18th century. He expressed delight at seeing this historic organization maintain an active community presence through Dickens.

“Being a part of the community is a big part of who we are and helping others,” Connolly said.

Jason Intardonato, senior deacon of Suffolk Lodge No. 60, discussed Dickens as a means of strengthening local connections and a time for selflessness.

“The Dickens Festival provides us with an extraordinary opportunity to interact with our neighbors here and with the community in Port Jefferson and to allow them into our space, entertain them for a while during the holidays, and give back,” he said.

Farther along Main, Jeffrey Sanzel’s annual production of Charles Dickens’ “A Christmas Carol” at Theatre Three is an active reminder of the historical background to the Dickens Festival.

The festival also provided a platform for some to communicate their message on a larger stage. For the second month in a row, protesters from the farmworkers union Local 338 RWDSU/UFCW gathered outside the Pindar wine shop in yet another call of action to negotiate a contract. The dispute is part of more than a year of negotiations between the union and Pindar Vineyards, the wine store’s parent company. 

John Durso, president of Local 338, joined the picketers on Main Street during the festival. “We knew that today was the Dickens Festival,” he said. “We knew that there would be a lot more people around, so we decided to … bring attention to the fact that these workers, like everybody else, are entitled to the same dignity and respect that all workers should have.”

Coordinating the annual festival is a monumental task for the village and the various stakeholders involved in its planning. Kevin Wood, the village’s director of economic development, parking administrator and communications committee head, thanked the sponsors who supported the festival and commented on the event’s success despite the inclement weather conditions.

“Because this has been [going on for] 26 years, people understand that this is one of the most unique events on Long Island, so they’re going to fight the rain to be here,” Wood said. “To support the production and the infrastructure, there are so many volunteers but there are also so many people staffing to make it work.”

Snaden concluded by offering how the Dickens Festival advances some of the village’s highest aims. She said the community uncovers its sense of place through an event such as this.

“It really goes to the sense of community that we all have,” she said. “All the work that goes into this festival and how everybody comes together, it’s a beautiful thing to see.”

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Carey Mulligan and Zoe Kazan in a scene from 'She Said' Photo courtesy of Annapurna Pictures/Plan B Entertainment/Universal Pictures

By Jeffrey Sanzel

In 2019, Jodi Kantor and Megan Twohey published She Said: Breaking the Sexual Harassment Story That Helped Ignite a Movement. The two New York Times reporters had exposed producer Harvey Weinstein’s long history of abuse and sexual misconduct, leading to national awareness of the #MeToo movement. The phrase traces to MySpace 2006: Sexual assault survivor and activist Tarana Burke founded the movement as a way for Black girls to share their stories of sexual trauma.

From All the Presidents Men (1976) through Spotlight (2015) and The Post (2017), cinema has addressed difficult topics through the sub-genre of investigative journalism. These movies take a potentially static premise—working an article through phone calls, research, and interviews—and elevating them into an emotionally connective experience. Director Maria Schrader has masterfully directed Rebecca Lenkiewicz’s smart and lean script for She Said. The result is a taut, unsettling, and riveting two hours.

She Said opens with the 2016 inquiry into then-presidential candidate Donald Trump’s alleged sexual misconduct. The quick prologue presents the retaliation against his accusers and death threats against the reporter. The telling segment sets up what is to follow.

The film jumps five months to the ousting of conservative commentator Bill O’Reilly. The New York Times staff embarks on exposing sexual harassment in the workplace, finding widespread problems in large companies, including Amazon and Starbucks. 

Actor Rose McGowan becomes an inciting force when reporter Jodi Kantor receives a tip that McGowan had been raped by Weinstein when she was twenty-three. Kantor pursues leads and conducts interviews, but she realizes that even high-profile stars—including Ashley Judd and Gwyneth Paltrow—do not want to go on record. This reluctance further emphasizes the power and exploitation systemic in the Hollywood community and culture.

Kantor then joins forces with Megan Twohey. They interview some of Weinstein’s victims, encountering appalling experiences. The pair relentlessly pursue leads, traveling across the country and even to the UK. In every case, they face reluctance rooted in fear. 

The film accurately paints Weinstein as an arch manipulator—a bully who used emotional abuse to prey on young women. He cajoled with statements such as, “It’s just business.” He promised advancement and threatened to blackball, with his greatest weapon being his far-reaching control in the industry. One victim expresses guilt and shame over her powerlessness: “It’s like he took my voice that day.” Weinstein’s influence, coupled with Miramax’s multiple payouts and NDAs (non-disclosure agreements), kept the producer safe for years. Weinstein built the silence, and people complied.

The interviews with two former assistants—Zelda Perkins and Laura Madden—are central to the film. Madden, who initially declines to speak, hears from someone in the Weinstein organization, revealing the network of awareness in Weinstein’s court. This threat ignites Madden’s desire to cooperate with the investigation. 

The film shows the difficulty in finding corroborating evidence. The title—She Said—indicates the challenge of going beyond accusations. Threats of career loss, bad publicity, and “cash for silence” are roadblocks that Kantor and Twohey must overcome. Even the EEOC (Equal Employment Opportunity Commission) shows reluctance to cooperate. 

The quest takes a toll on Kantor and Twohey, invading their personal lives (though they are fortunate in the support of understanding husbands). Twohey gives birth early on and struggles with postpartum depression. Their perseverance is rewarded when several sources agree to go on public record, including Ashley Judd, who appears as herself.

As a film, She Said is relentlessly tense, with almost no breathing space, though much plays in low tones and silence. A few occasional flashbacks are a bit clumsy, but the disturbing recreation of the audiotape of Italian model Ambra Battilana Gutierrez is brilliantly recreated against images of hotel corridors. Likewise, a victim’s clothing on the floor, shown against the sound of a shower, is equally unnerving.

Carey Mulligan (Twohey) and Zoe Kazan (Kantor), both intense but never overwrought, skillfully head up a fine ensemble cast. As editor Rebecca Corbett, Patricia Clarkson once again shows her ability to be understated and fully present, guiding the two reporters with a strong hand. 

Andre Braugher displays wry depth as executive editor Dean Baquet. Jennifer Ehle and Samantha Morton are outstanding as Laura and Zelda, bringing dignity to the pain of two damaged survivors. Peter Friedman’s canny lawyer, Lanny Davis, offers dimension as well as the prevailing attitude of the misogynistic “normal.” Zach Grenier’s adversarial account, Irwin Reiter, seethes with conflict. 

While Weinstein’s hulking figure is only seen from the back, Mike Houston imbues the predator’s voiceovers with brutish, self-entitled cruelty. Finally, Judd’s presence lends an incredible additional weight to the film. Everyone invests in the narrative’s high stakes.

Suffused with tension, She Said finds much of its center in the necessarily uncomfortable and the shadow of the unspoken. Just before the story is about to run, Twohey expresses the prevailing fear: it will run, and people won’t care. While She Said is an incredible film, it is also a sober reminder there is still much work to be done.

Rated R, the film is now playing in local theaters.

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Ryan Reynolds and Will Ferrell in a scene from 'Spirited.' Photo courtesy of Apple TV+

By Jeffrey Sanzel

No holiday season goes by without a new take on that perennial favorite, Charles Dickens’ A Christmas Carol. Whether traditional or modern, serious or spoof, the story survives and thrives. 

Reviews are expected to contain some sense of objectivity. However, having had a long and personal connection to this story, I would be disingenuous, pretending I do not have strong, protective feelings. Over the years, I have viewed every version possible. 

Ryan Reynolds and Will Ferrell in a scene from ‘Spirited.’ Photo courtesy of Apple TV+

Adaptations of A Christmas Carol are most often referenced by their principals. Among the finest of the traditional versions are, of course, Alistair Sim and George C. Scott. The stronger musicals include Albert Finney, Mr. Magoo (voiced by Jim Backus), and the Muppets (with Michael Caine as the miser). Henry Winkler, Cicely Tyson, Vanessa Williams, Robert Guillaume, and Susan Lucci barely scratch the surface of the updated undertakings. Many are fans of Bill Murray’s Scrooged, but I confess to have never been on board with its strident humor and ambivalent ending. I have endured Kelsey Grammar, Tom Arnold, Tori Spelling, and even Barbie. 

This leads us to the newest addition, Spirited. Director Sean Anders has co-written the screenplay with John Morris. Composers Benj Pasek and Justin Paul (The Greatest Showman, La La Land, Dear Evan Hansen) provide the score. Will Ferrell and Ryan Reynolds star. And the film is pure, outrageous joy from beginning to end.

The plot is an absurdist mix of sentimentality and insanity, offering a fresh new vision that surprises and charms for the brisk two hours and ten-minute running time. Jacob Marley (phenomenal Patrick Page, looking and playing like a spritely Christopher Plummer) has managed the afterlife trio of Christmases Past (Sunita Mani, nailing both the earnest and the deadpan), Present (Ferrell at his best), and Future (voiced hilariously by Tracy Morgan), along with an enormous staff in what looks like a Victorian office meets twenty-first-century bureau. 

Each year, one reprehensible human is selected to be studied and redeemed. Research is done; sets are built; plans are made. The world is Alice in Wonderland crossed with M.C. Escher—sort of The Good Place: Holiday Edition.

Ryan Reynolds and Will Ferrell in a scene from ‘Spirited.’ Photo courtesy of Apple TV+

In a chance encounter, Present sets his heart on rescuing the seemingly unredeemable Clint Briggs (perfectly wry Ryan Reynolds), a media consultant lacking any conscience. Against Marley’s wishes, Present embarks on the mission to save the unsavable. Spoiler Alert (sort of): Present is Ebenezer Scrooge. The story then follows the intersection of these two who share a commonality. In essence, the question becomes, “Who redeems the redeemer?”

Ferrell is both genuine and hilarious, showing incredible restraint and real connection. He even succeeds as the traditional Scrooge in a few momentary flashbacks. Reynolds is the perfect foil, edgy and honest, and very funny. 

The great Octavia Spencer is Briggs’ quasi-Bob Cratchit but also becomes the object of Present/Scrooge’s affections. Glimpses of Brigg’s family, including his late sister, Carrie (poignant Andrea Anders), and her daughter, Wren (unassuming and genuine Marlow Barkley), build background. 

All these pieces are standard Christmas Carol tropes. But the zany, hyper-meta view matched by a fantastic score, jubilant dancing (outrageously choreographed by Chloe Arnold), and two lead performances that land every moment make Spirited something special. 

From the opening (“That Christmas Morning Feelin’”) to Reynold’s psychotic call to commerce (“Bringin’ Back Christmas”) to the greatest send-up of “Consider Yourself” since Monty Python’s “Every Sperm Is Sacred” (“Good Afternoon”), the film’s musical sequences simultaneously celebrate and satirize. Spencer finds the right blend of humor and heartache in “The View from Here.” While none of the leads are powerhouse singers, the uniformly pleasant voices hit the right vocal and emotional notes.

Anders succeeds on every level as director and adaptor, supported by a production team that delivers strong visuals and whimsical designs. He makes the central message—our choices make us who we are—feel earned rather than saccharine. In addition to a range of Dickens Easter Eggs, the film contains one of the greatest cameos seen in years.

Two more Christmas Carols will be arriving this season. A Christmas Karen takes a comedic look, with a demanding woman coming to terms with her sense of entitlement. Netflix offers the animated Scrooge: A Christmas Carol, adapted from the 1970 film. With a star-studded cast, Luke Evans voices Scrooge. Whether they become valued additions to the canon remains to be seen. In the meantime, we have Spirited to keep us warm and happy. 

I suspect many will disagree with this glowing assessment and see Spirited as one big “Bah, humbug.” As a good friend always said, “That’s why refrigerators come in different colors.” I went into this movie skeptical, dubious, and with my quill sharpened. But, like Scrooge, I left in a giddy state of Christmas euphoria.

Rated PG-13, Spirited is currently playing in local theatres as well as on Apple TV+.

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