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Jeffrey Sanzel

Theater Review: Get into the spirit of the season with ‘A Kooky Spooky Halloween’

by Heidi Sutton - October 14, 2021

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By Heidi Sutton

October is such a great time of year with the lovely weather, the changing leaves, mums, pumpkin and apple picking and trick or treating. It also means the return of the holiday treat A Kooky Spooky Halloween at Theatre Three. With emphasis on the power of friendship and the importance of helping others, the original musical, written by Jeffrey Sanzel and Steve McCoy, runs through Oct. 30.

The star of the show is a nice ghost named Abner Perkins (Steven Uihlein) who has just graduated from Haunting High School. Awarded a medallion of invisibility, he is given the coveted assignment of haunting Ma Aberdeen’s Boarding House, famously known for being the most haunted house in Harrison County U.S.A … and for serving the best toast! Abner must abide by two rules — he can only haunt at night and he can’t lose the medallion or he’ll become visible and lose his powers.

There’s only one problem — Abner is afraid of the dark, which is “like a vampire who’s afraid of necks!” according to his best friend Lavinda the Witch (Alanna Rose Henriquez). She gives him a night light as a graduation present and promises to help him adjust to his ghostly duties.

When Abner and Lavinda arrive at the boarding house, they find the Petersons — Paul (Liam Marsigliano), his wife Penelope (Stephanie Moreau) and son Pip (Darren Clayton) — and Kit Garret (Heather Rose Kuhn), who has just come “from a small town to the big city with a suitcase in my hand and hope in my heart,” in the kitchen helping Ma Aberdeen (Ginger Dalton), the finest toast maker in the land, prepare treat bags for Halloween.

In one of the funniest moments in the show, Abner casts a speed spell on the group, making them dance, sing, spin like a top, quack like a duck and do jumping jacks in fast motion. His final spell of the night is to have them “join together like birds of a feather.”

Things are going hauntingly well until fellow graduate Dora Pike (Beth Ladd) appears out of thin air. Filled with jealousy, (she was hoping to be assigned to Ma Aberdeen’s boarding house) Dora steals Abner’s night light and medallion and threatens to drop them into Black Ridge Gulch, the deepest, darkest gorge in the entire world (where it’s really, really dark).

Still stuck to each other, the group can now see Abner who must convince them to help him retrieve his medallion and undo the spell. What follows is a “Golden Goose” moment throughout the theater that will leave you in stitches!

Peppered with Halloween riddles and jokes, the show is wonderful on so many levels. Directed by Jeffrey Sanzel, the 8-member adult cast know their target audience well and deliver standout performances with special mention to Ginger Dalton as Ma Aberdeen, a character she has played since the musical originated in 2017. I can’t imagine anyone else playing that role.

Accompanied on piano by Douglas Quattrock and choreographed by Sari Feldman, the song and dance numbers are the heart of the show, especially “Into the World I Go” by Abner, “A Witch Is a Person” by Lavinda, and the fun group numbers, “A Need for Speed” and “It’s Ma Who Makes the Toast.”

Jason Allyn’s gorgeous costumes are on fleek, from the ghosts dressed from head to toe in flowing white and the witch’s purple dress and pointy hat, to the Peterson’s coordinating orange and black outfits and the spooky lighting design by Steven Uihlein sets the mood and ties everything together perfectly.

Halloween is always such a fun holiday for children. This year, make it extra special and take them to see A Kooky Spooky Halloween. They’ll love you for it.

Snacks and beverages are available for purchase during intermission and costumes are encouraged. Souvenir cat, pumpkin, Frankenstein, Dracula and ghost dolls will be available for purchase before the show and during intermission for $5. Meet the entire cast in the lobby for a group photo.

Theatre Three, 412 Main St., Port Jefferson presents A Kooky Spooky Halloween on Saturdays, Oct. 9, 16, 23 and 30 at 11 a.m. and Sunday, Oct. 17 at 3 p.m. Children’s theatre continues with Barnaby Saves Christmas from Nov. 20 to Dec. 26, Puss-In-Boots from Jan. 15 to Feb 5, and a brand new production, Dorothy’s Adventures in Oz, from Feb. 23 to March 26. All seats are $10 and COVID protocols are in place. For more information or to order, call 631-928-9100 or visit www.theatrethree.com.

Movie Review: ‘The Many Saints of Newark’ offers a slice of mafia life

by Jeffrey Sanzel - October 8, 2021

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'The Many Saints of Newark' 1 — Michael Gandolfini as a young Tony Soprano and Alessandro Nivola as Dickie Moltisanti in a scene from the film. Photo courtesy of Warner Bros.

By Jeffrey Sanzel

“It’s not T.V. It’s HBO.”

This promotional phrase captured the viewing public’s attention, promoting a shift in the nature and caliber of the small screen. With Oz, Six Feet Under, Curb Your Enthusiasm, The Wire, Sex and the City, and Game of Thrones, the subscription service elevated quality and expectations.

But, perhaps the show that truly launched the revolution was The Sopranos (1999-2007). And no anti-hero captured imaginations more than Tony Soprano, vividly brought to life in an award-winning performance by the late James Gandolfini. For eighty-six episodes, over six seasons, the New Jersey mob boss struggled with personal and professional demons.

The Sopranos transformed the gangster/crime genre into an event that was perpetually brutal, darkly humorous, and almost always surprising. The ensemble cast, headed by Gandolfini and Edie Falco, was nothing short of flawless. Yet, even when it strayed from its strengths, it was still the most watchable and addictive show on television.

A scene from the film. Photo courtesy of Warner Bros.

Sopranos creator David Chase has co-penned the screenplay (with Lawrence Konner) for The Many Saints of Newark, a prequel spanning 1967 to the mid-70s. Focusing on Dickie Moltisanti (father of The Sopranos’ Christopher, played by Michael Imperioli, who narrates from beyond the grave), the story draws on the same well as its source: allegiances and betrayals, violence, and family.

Once again, it is a realm of street shootings, hypocritical funerals, heaping trays of pasta, neglected wives, and abused mistresses. Adding texture and weight to the narrative are the race riots of Newark, as seen through the eyes of Harold McBrayer (Leslie Odom, Jr., making every moment count), an African American associate of the crime family. Though not fully realized, the unrest reflects our contemporary turbulent times.

While Tony’s father, Johnny (Jon Bernthal), is shown going to and returning from prison, the film keeps him surprisingly in the periphery. Dickie’s relationship with his father (a slightly over-the-top Ray Liotta), his father’s immigrant wife (Michela De Rossi, finding depth), and Tony (played by William Ludwig as a boy and James Gandolfini’s son, Michael Gandolfini, as a teenager) are the driving forces.

As Dickie, Alessandro Nivola embodies bravado affected by doubt and guilt. Some of the strongest moments featured his father’s imprisoned twin brother (played with a fascinating edge and subtlety by Liotta). Like The Soprano’s Tony, the shadow of doubt and the battle with moral conflict enrich Nivola’s hoodlum.

The draw in The Many Saints of Newark comes from familiarity with the world Chase created. Saints is, in theory, a standalone film, but the mythology is rooted in what comes next. It is unlikely that people new to The Sopranos will be intrigued enough to explore the original; the film is fan-centric and for devotees.

The most entertaining moments are the ones that reference the characters’ latter selves. John Magaro, as Silvio Dante, finds Steven Van Zandt’s peculiar walk and definitive speech pattern. While given very little to say, Samson Moeakiola’s Big Pussy is a ringer for a young Vincent Pastore. However, with their screen time, these almost feel like cameos or Easter Eggs.

Glimpses of Janice, Carmela, Jackie Aprile, and Artie Bucco are more a Where’s Waldo? than resonating additions to the overall landscape. (Corey Stoll as Junior Soprano fails to capture the essence of Dominic Chianese’s eccentric second fiddle.) The result is recognition of familiar lines or reactions rather than engrossment in the complexity of character.

Vera Farmiga is the exception. She consistently evokes Tony’s elder monster-mother Livia (the indelible creation of Nancy Marchand). Farmiga finds the broad strokes as well as the nuance in the mercurial Soprano matriarch. A simple kitchen interaction with the teenage Tony (Gandolfini) embodies the relationship core to the entire series.

The film conjures the era, shot with a brisk pace and an eye for detail by veteran Sopranos director Alan Taylor, and the gritty, period cinematography of Kramer Morgenthau (whose work has included Boardwalk Empire and Game of Thrones).

If anything, the movie offers new life to a departed show that was universally mourned by its faithful followers. It is less a driving narrative and more meditative (though violently so): Chase offers a slice of Mafia life. And while there is an arc, there is no sense of finality.

Without James Gandolfini, a return of the television show seems unlikely. So rather than a reboot, Saints heralds a possible film series exploring what led up to where The Sopranos began. Whether these come to fruition remains to be seen. In the meantime, The Many Saints of Newark compellingly sheds some light on what came before.

Rated R, the film is now playing in local theaters and streaming on HBO Max.

Book Review: ‘The Whaler’s Daughter’

by Jeffrey Sanzel - October 7, 2021

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'TheWhaler'sDaughter' — 'The Whale's Daughter'

Reviewed by Jeffrey Sanzel

There is a long tradition of Man vs. Nature in young adult literature. The Island of the Blue Dolphins, Hatchet, and even Call of the Wild (which straddles the world of adult and young adult fiction) are examples of the genre. These novels reflect how the individual changes when interacting with greater forces. Jerry Mikorenda’s The Whaler’s Daughter (Regal House Publishing) smartly explores the world of whaling in a 1910 New South Whales community.

Author Jerry Mikorenda signs a book for a fan.

In a small Australian station, the whalers have joined forces with orcas to hunt whales. Savannah Dawson, a twelve-year-old living with her widowed father, dreams of working alongside him on the boats, joining the family’s long whaling history. Her gender strongly impedes her desire. In addition, she believes that the orcas caused the death of her two brothers, Eli and Asa.

The book seamlessly weaves Savannah’s two journeys. First, her realization that the orcas were not responsible for her sibling’s death. Second, her struggle for acceptance as a crew member. The author addresses both issues throughout, using detailed research to infuse the book with a vivid portrait of life on ship and shore, the challenges of the sea, and the camaraderie of the men themselves. He touches on superstitions and familial connections. In addition, he contextually integrates both regional dialect and nautical/whaling vocabulary. (There is also a helpful appendix of terms.)

Mikorenda sets the tone and pace with Savannah’s declaration: “I began my day as I always did, lugging those dreaded pots to the fire pit to make a bushman’s stew. Their big iron bellies slogged through the sand as if they were drunken sailors being dragged to Sunday service.” He presents a life of physical toil with a heroine who has a wry sense of observation. She begins as a cook and ends on the boat.

Savannah’s palpable frustration seats in her knowledge of being a Dawson and the weight the name carries. But being female has relegated her to a second-class citizen. Apart from an unwanted suitor, she is almost unseen. So driven to claim her birthright, she boldly chops off her hair: “If Papa needed a boy for the boats, I’d meet him halfway.” The portrait is a girl coming to terms with maturity. She questions the father-daughter relationship. “How could things go so wrong between us when all I did was grow into who I am?” More telling is her realization that “Having your dreams trampled by someone who could help you realize them is worse than not having them at all.”

Savannah’s father, both distant and damaged, shows sensitivity in a revelation centering around a letter. His opening to Savannah is one of the most touching moments in the book. In addition, Mikorenda has populated the station with a blend of interesting and colorful sailors and their families. The locale is vibrant, with special note of the wonderfully eccentric Old Whalers and Seafarer’s Home, dubbed the Pelican House.

Certainly, the hyper-articulate Calagun is the book’s unique character. Nicknamed “Figgie,” the aboriginal boy’s eloquence is a marvel: “Your perceptions of my intentions are somewhat askew.” A new oarsman in the Dawson crew, he becomes Savannah’s companion and champion. He serves as the gateway in her shift in perception. Through him, she sees the orcas anew and, subsequently, the world. Their interactions root in genuine respect and affection. “Some people are like empty bowls we can pour all our problems into, and Figgie was that way for me,” muses Savannah.

There is remarkable enculturation as Savannah learns from Figgie’s life experiences. Their burgeoning closeness hews tightly to the book’s heart. Figgie’s spirituality, acquired from his people, confirms man’s connection to the world: “We don’t own the earth, the earth owns us … This is where we began; this is where our spirits return to be reborn as a rock, bird, or fig tree.”

Figgie’s explanation of the balance of nature tempers Savannah’s anger with the orcas. Her newfound comprehension leads to an encounter with an orca bringing her to shore. Confusion leads to frustration, to awareness, to acceptance. Later, they witness the birth of an orca, furthering her understanding of the pod’s dynamic.

The novel offers a sense of the hard life in New Wales. It also gives a rich glimpse into aboriginal culture and beliefs. The blend matures Savannah in ways that life solely under her father would not give her.

The Whaler’s Daughter is an engaging novel. The plot is intense and eventful, and the language vivid and resonant. But the true strength lies in the growth of Savannah Dawson, a complex girl with challenging aspirations and the drive to see them fulfilled

ABOUT THE AUTHOR:

A resident of Northport, Jerry Mikorenda’s work has appeared in The New York Times, The Boston Herald, The Gotham Center History Blog, and the 2010 Encyclopedia of New York City. His short stories have appeared in the San Francisco Chronicle, BULL, Cowboy Jamboree, and Gravel Magazine as well as other journals. His biography America’s First Freedom Rider: Elizabeth Jennings, Chester A. Arthur, and the Early Fight for Civil Rights was published in 2020. His latest, the coming-of-age historical fiction novel The Whaler’s Daughter, is perfect for middle-grade readers and is available online at Amazon and Barnes and Noble.

For more information, visit www.jerrymikorenda.com.

Movie Review: ‘Dear Evan Hansen’

by Jeffrey Sanzel - September 30, 2021

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A scene from 'Dear Evan Hansen'. Photo courtesy of Universal Pictures

Film adaptation celebrates the essence of an unforgettable musical

By Jeffrey Sanzel

Lillian Hellman’s The Children’s Hour was touted as a play exploring “the power of a lie.” The same could be said of Dear Evan Hansen, the Broadway musical that opened in 2016 and had played over 1,300 performances before the shutdown. It returns to its home at the Music Box on December 11.

Evan Hansen is a high school senior with social anxiety. His therapist has assigned him to write self-encouraging letters (thus the title). The school outcast, Connor Murphy, steals one. When Connor commits suicide, the letter is found in his pocket. The boy’s family finds solace in the idea that he had a close friend in Evan. Instead of explaining the mistake, out of a mix of sympathy, sensitivity, and fear, Evan goes along with the misunderstanding. However, the situation becomes a bigger issue when Connor’s memory becomes a cause. And while his intentions are initially good, the lie ultimately becomes destructive.

Ben Platt and Julianne Moore in a scene from ‘Dear Evan Hansen’. Photo courtesy of Universal Pictures

Benj Pasek, who wrote the score with Justin Paul, based the idea on an incident that occurred in his Philadelphia high school. Collaborating with book writer Steven Levenson, they created a smash hit that received critical accolades and garnered dozens of awards. Its six Tony’s included Best Musical, Best Book of a Musical, Best Original Score, and Best Actor in a Musical for Ben Platt’s star turn as the titular character.

Platt is the sole member of the stage company to recreate a role in the screen version. Much has been said (predominantly online) about Platt being too old to play Evan, but this is unfounded carping. His portrayal of the tormented teen is nothing short of devastating. He has skillfully adapted his stage persona for the screen, finding depth and subtlety, with his voice soaring from first to last. Platt’s Hansen is a gift, and a reminder of the countless stage performances lost to Hollywood productions featuring bigger names of far lesser skill.

Levenson has fashioned a smart and effective screenplay, opening it up just enough but maintaining the stage version’s intimacy and integrity. Steven Chbosky’s direction ably captures Evan’s isolation, especially in the opening “Waving Through a Window,” but there is a sense of repetition in the endless panning shots. In addition, Chbosky and Levenson rely a bit too heavily on quickly inserted fantasy shots that don’t quite land. But, overall, they have transformed the musical into a satisfying cinematic experience, and the expanded ending is richer and more fulfilling than the original.

The driving force in the musical was the score, a unique and melodious contemporary Broadway sound. Four songs have been cut for the film, so Platt now carries about eighty percent of the music. The elimination of “Does Anybody Have a Map?” clearly emphasizes Evan’s journey, which somehow marginalizes the families (or at least the adult singers). And while there is logic to the change, the choice is a loss of a perfect song and establishing the story’s larger world.

Ben Platt and Amandla Stenberg in a scene from ‘Dear Evan Hansen’. Photo courtesy of Universal Pictures

One of the early highlights is the cleverly realized “Sincerely Me.” Evan recruits a family friend, Jared (the hilariously deadpan Nik Dodani), to create fake backdated emails to show Evan’s friendship with Connor (Colton Ryan, who shows great range and dimension). Platt makes every song work, but none as indelibly as his confession to Connor’s family in the devastating “Word’s Fail.”

Amy Adams and Danny Pino are honest and raw as Connor’s parents. Kaitlyn Dever is both believable and heartbreaking as Connor’s sister, Zoe, the object of Evan’s affections. The family’s “Requiem” trio shows their distance and struggle. Dever and Platt’s duet “Only Us” genuinely captures their unlikely burgeoning romance. Julianne Moore is fully present as Evan’s mostly absent mother. But her vocal skills are limited, and while there is an adjustment in her one number (“So Big/So Small”), the tentative vocal quality doesn’t fully suit the strength of the character.

The creators have expanded and softened the role of Alana Beck (Amandla Stenberg), the overachiever who heads up the Connor Project. In the play, there is a mercenary quality to Alana. Here, she is given a revelation of her issues with anxiety and depression, somehow diluting Evan’s isolation. Stenberg stunningly presents a new number—“The Anonymous Ones”—but there is something generic about both its sound and sentiment.

There is a general underplaying of the social media aspect that was hyper-present in the stage production. Film is an opportunity to explore cyberspace in a big (or even bigger) way. Instead, the creators opted for two brilliant, pivotal moments: the beautifully realized anthem “You Will Be Found” and later the online posting of the “Dear Evan Hansen” letter. However, there is a strange—and inaccurate—absence of cell phone use among the students.

But in the end, all are minor cavils. Dear Evan Hansen is a powerful, emotional, and, ultimately, important adaptation, celebrating the essence of a unique and unforgettable musical.

Rated PG-13, ‘Dear Evan Hansen’ is now playing in local theaters.

Theater Review: ‘Grease’ rocks at Theatre Three!

by Barbara Anne Kirshner - September 24, 2021

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By Barbara Anne Kirshner

Do you ever think back to your teenage years, to the time you were hanging out at the beach, local candy store or park and you turned around to stare into the eyes of the most gorgeous person you’ve ever seen? That snapshot is lodged somewhere in the deep recesses of your mind, but when you allow it to surface, you get that sweet nostalgia of those “Summer Nights.”

Grease, now rockin’ the rafters at Theatre Three, is that journey down memory lane with 1950’s Pink Lady jackets, Greasers and Greased Lightnin’. It explores the innocence of youth, the pangs of first love and the teenage psyche when everything was a crisis and monumental. This effervescent romp brimming with electrifying familiar songs ignites the audience making it difficult not to jump up, dance and sing along with the spirited ensemble.

The team of Jim Jacobs and Warren Casey wrote the book, music and lyrics with the original concept derived from Jacobs’ personal experiences at William Taft High School in Chicago. The name was changed to Rydell High in deference to the pop 50’s singer Bobby Rydell. Grease was first produced at the Kingston-Mines Theatre Company, Chicago in 1971, then went to Off-Broadway before moving to Broadway closing on April 13, 1980. The show received seven Tony Nominations in 1972.

This story of teenage love centers around greaser Danny Zuko and innocent Sandy Dumbrowski who have a summer romance that ends as the new school year begins. To the surprise of both, they bump into each other on the first day of school. But this reunion is awkward at first. Danny, leader of a greaser gang, is not what Sandy thought he was and Danny doesn’t want his gang to know he fell for this prim girl. Supported by a cast of exuberant characters and bursting with hits, this show has continued to delight audiences for decades.

The success of the 1978 movie version launched John Travolta and Olivia Newton-John into movie history and their performances are etched in our brains making it a monumental task for other actors to compare, but Jon Sawyer Coffin as Danny and Jenna Kavaler as Sandy are charismatic. The moment Coffin struts down the aisle in his seductive first entrance, he has the audience eating out of his hands. Kavaler, with her sweet smile, emits wholesomeness and her floating soprano wraps Hopelessly Devoted to You with emotion. We are with this Sandy right from the start and cheer for her and Danny to get together.

Director Jeffrey Sanzel has assembled a dazzling ensemble of supporting characters with Pink Ladies, Rizzo (Rachel Greenblatt), Jan (Alanna Rose Henriquez), Marty (Heidi Jaye) and Frenchie (Michelle LaBozzetta). They are the cool girls hanging out with the super cool Burger Palace Boys, Kenickie (Steven Uihlein), Doody (C.J. Russo), Roger (Eric J. Hughes) and Sonny (Darren Clayton). This powerhouse company attacks the rock and roll score with vigorous dancing and stunning voices.

There are many stand out performances. Greenblatt’s Rizzo is dynamic as she grasps the audience with her cynical teasing of Sandy in Look at Me, I’m Sandra Dee, then exposes her vulnerable side with There Are Worse Things I Could Do. Jaye’s Marty portrays sophistication beyond her years and her Freddie My Love is such fun. LaBozzetta’s bubble-headed Frenchie flunks out of beauty school, but finds guidance from her Teen Angel played with animated elan by Londel Collier. The not so cool Jan (Henriquez) teams up with the jokester Roger (Hughes) for a comical Mooning. And, of course, we can’t have Grease without a hot rod, so suddenly taking center stage is Kenicke’s dream car replete with big round headlights prompting the Burger Palace Boys into a lively Greased Lightnin’.

Costumes by Ronald Green III from Pink Lady jackets to black leather jackets mirror the personalities of the characters. Sandy is wrapped in white cardigan over pastel full skirt as opposed to Rizzo’s tight-fitting reds and blacks. The dream sequence of Beauty School Drop Out is a delight with silver curlers piled on the girls’ heads and the entire company swathed in silver beauty parlor capes.

Nicole Bianco’s choreography is bouncy and artistic with many dance routines ending in gorgeous tableaus. Born to Hand-Jive with its synchronized sequences is frenetic.

The multi-level set design by Randall Parsons allows action to flow seamlessly. Lighting design by Robert W. Henderson, Jr. sets the mood from bright to sultry and provides flawless continuity.

Music director, Jeffrey Hoffman, and his four-piece band underscores the fun with their sparkling orchestration. A standout is Bill Kinslow’s sexy saxophone in There Are Worse Things I Can Do.

Theatre Three is celebrating its 51st season of bringing fine entertainment to Long Island audiences by kicking off the festivities with the world’s most popular musical, Grease. Come join in the fun!

Theatre Three, 412 Main St., Port Jefferson presents Grease through Oct. 30. Tickets are $35 adults, $28 seniors and students, $20 children ages 5 to 12. For COVID protocols, please visit the website at www.theatrethree.com. For more information, call 631-928-9100.

All photos by Brian Hoerger/Theatre Three Productions, Inc.

Port Jefferson Documentary Series shines spotlight on stories that need to be told

by Tara Mae - September 16, 2021

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By Tara Mae

A Holocaust survivor’s complicated connection to the SS officer who nursed her through typhoid. An heir to a margarine fortune determined to give away his $25 million inheritance. A whistleblower whose patriotism leads to prison. These are just some of the stories explored when the award-winning Port Jefferson Documentary Series (PJDS) kicks off its Fall 2021 season on Sept. 20.

Since 2005, the film series has been providing audiences access to films, artists, and stories that may otherwise not be as available to the general public.

‘In Balanchine’s Classroom’ will be screened at Theatre Three on Oct. 25.

Sponsored by the Greater Port Jefferson-Northern Brookhaven Arts Council, the Suffolk County Office of Film and Cultural Affairs, Maia Salon Spa and Wellness, and Covati and Janhsen, CPAs, the PJDS will present seven intriguing documentaries at Theatre Three, located at 412 Main Street in Port Jefferson.

The documentaries were handpicked by a six-member film board that includes co-directors Lyn Boland, Barbara Sverd and Wendy Feinberg along with Honey Katz, Lorie Rothstein and Lynn Rein. Although the final selections are made by the board, the screening committee also includes four longtime volunteers Denise Livrieri, Yvonne Lieffrig, Debbie Bolvadin, and Mitch Riggio.

“We run the documentary series as a real democracy. Every film has a showrunner; you pick a film that you are particularly excited about, and everyone votes it in,” explained Lyn Boland.

The films include Love It Was Not, Claydream, Dear Mr. Brody, United States vs. Reality Winner, Not Going Quietly, In Balanchine’s Classroom, and Mission Joy — Finding Happiness in Troubled Times. Screenings will take place 7 p.m. on Mondays, September 20 and 27; October 4, 11, 18, 25; and November 15. (See sidebar).

With the exception of Claydream, the films will be also offered virtually the following day. In addition, an eighth film, Torn, will be only offered virtually on Nov. 8.

Each screening will be followed by a Q&A with the documentary’s director or producer, who will join the event via personal appearance, Skype call, or, in one case, a pre-recorded Zoom interview. Tom Needham, host of The Sounds of Film on WUSB, will act as emcee.

“Tom is the consummate interviewer. We are so lucky to have him. He chooses his own very interesting questions which really gets to the heart of each film and the filmmaker’s reasons for making the film,” said Wendy Feinberg.

‘Love It Was Not’ will be screened at Theatre Three on Sept. 20.

Boland believes that this series may be the most diverse series yet. “This season is the most varied season I can remember us presenting. It covers a huge range of topics,” she said. Love It Was Not, a film by Maya Sarfaty, was Boland’s recommendation to the panel.

“It’s a Holocaust story about a prisoner who had an SS officer fall in love with her; a remarkable story,” Boland said. “He secretly nurses her through typhoid, decades later his wife calls her to testify at his Nuremberg trial. Of course this is a dilemma for her…”

Boland is excited to see all the films, especially Dear Mr. Brody, directed by Marc Evans and United States vs. Reality Winner directed by Sonia Kennebeck.

“Dear Mr. Brody is such a nostalgia piece from the 70’s, a period I loved, and it was a story I had never heard. I thought it was very unique and it was sparked by finding the trove of letters sent to him from that period.”

United States vs. Reality Winner stood out to the co-director for how it explores the difficult decisions individuals in fraught situations may be forced to make. “It is important that the missed stories be told, the stories that really define their times,” she said. “I thought what Reality did was so brave, so right and what she went through for it shows how twisted up motivation and rules can be.”

‘Dear Mr. Brody’ will be screened at Theatre Three on Oct. 4.

It’s that sort of authenticity that Boland believes makes documentaries so arresting and engaging. “I think what makes documentaries special is the extra dimension of knowing that they are true…there is no forgetting about the camera, like you do in a feature film. You are really aware that someone had to be there, in that situation, with a camera, and even if it is not dangerous or daring, it is still access, and with access you can make the film. Documentarians don’t always know how a story is going to unfold, but finding the story arc, that makes it a really riveting documentary,” she said.

Everyone associated with the series is first and foremost a fan of the genre, according to Boland. And while many of the works are discovered by board members at festivals such as the Tribeca Film Festival, they are also being contacted by film distributors.

“Distributors are reaching out to us more often. We’re not a festival, so we don’t solicit entries the way festivals do. We really feel that we are picking from an already selective group of films when we see them at a film festival. We used to absolutely require that a film had to have won an award or gotten rave critical review; we now trust our own judgement more,” she said.

A labor of love for all those involved, holding the live screenings and Q&As at Theatre Three is an ongoing partnership.

“We’re providing an opportunity for an arts organization in our community. It is very valuable to screen films that people wouldn’t necessarily get to see in movie theaters; many of them noncommercial. The series offers a truly wonderful service,” said Theatre Three’s Artistic Director Jeffrey Sanzel.

Film Schedule:

■ The season begins with a screening of Love It Was Not on Sept. 20. Flamboyant and full of life, Jewish prisoner Helena Citron found herself the subject of an unlikely affection at Auschwitz: Franz Wunsch, a high-ranking SS officer who fell in love with her magnetic singing voice. Their forbidden relationship lasted until her miraculous liberation. Thirty years later, a letter arrived from Wunsch’s wife begging Helena to testify on Wunsch’s behalf in an Austrian court. She was faced with an impossible decision: should she help the man who brutalized so many lives, but saved hers, along with some of the people closest to her? Follow her journey in Love It Was Not. Guest speaker, recorded via Zoom, is Director Maya Sarfaty. This film is sponsored by Temple Isaiah and North Shore Jewish Center.

■ Up next on Sept. 27 is Claydream which follows the story of Will Vinton, a modern day Walt Disney who picked up a ball of clay and saw a world of potential. Known as the “ Father of Claymation,” leading a team of artists and writers, Vinton revolutionized the animation business during the 80’s and 90’s. But after thirty years of being the unheralded king of clay, Will Vinton’s carefully sculpted American dream came tumbling down. The film takes us on an exciting journey, rich with nostalgia and anchored by a trove of clips from Vinton’s life work, including his iconic, classic California Raisins. Guest Speaker is Director Marq Evans via Skype. *Please note, this film is not available virtually.

■ Next up on Oct. 4 is Dear Mr. Brody. In 1970, hippie-millionaire Michael Brody Jr., the 21-year-old heir to a margarine fortune, announced to the world that he would personally usher in a new era of peace and love by giving away his twenty-five million dollar inheritance to anyone in need. Instant celebrities, Brody and his young wife Renee were mobbed by the public, scrutinized by the press, and overwhelmed by the crush of personal letters responding to this extraordinary offer. Fifty years later, an enormous cache of these letters are discovered – unopened.

In this riveting follow-up to his acclaimed film, TOWER, presented by the PJDS in 2016, award-winning director Keith Maitland reveals the incredible story of the countless struggling Americans who sought Brody’s help. Guest Speaker is Melissa Robyn Glassman, Producer and subject in the film.

■ United States vs. Reality Winner will be screened on Oct. 11. A state of secrets and a ruthless hunt for whistleblowers, the documentary tells the story of 25-year-old NSA contractor Reality Winner who leaked a top secret document to the media about Russian interference in the 2016 United States elections. Guest speaker will be Director Sonia Kennebeck.

■ The season continues with Not Going Quietly on Oct. 18. When 32-year-old activist and father Ady Barkan is diagnosed with ALS and given four years to live, he finds himself in a deep depression, struggling to connect with his young son, whose presence reminds him of the future he will miss. But, after a chance confrontation on an airplane with Senator Jeff Flake goes viral, Ady decides to embark on a tour of America, using his final breaths to fight for healthcare justice, and ultimately discovering that collective action and speaking truth to power can not only inspire movements, they can offer personal and emotional transformation as well. Guest speaker will be Director Nicholas Bruckman.

■ Up next on Oct. 25 is In Balanchine’s Classroom which takes us back to the glory years of Balanchine’s New York City Ballet through the remembrances of his former dancers and their quest to fulfill the vision of a genius. Opening the door to his studio, Balanchine’s private laboratory, they reveal new facets of the groundbreaking choreographer: taskmaster, mad scientist, and spiritual teacher. Today, as his former dancers teach a new generation, questions arise: what was the secret of his teaching? Can it be replicated? This film will thrill anyone interested in the intensity of the master-disciple relationship and all who love dance, music, and the creative process. Guest speaker is Director Connie Hochman.

■ Directed by Max Lowe, Torn will be screened virtually only on Nov. 8. On Oct. 5, 1999, legendary climber Alex Lowe was tragically lost alongside cameraman and fellow climber David Bridges in a deadly avalanche on the slopes of the Tibetan mountain, Shishapangma. Miraculously surviving the avalanche was Alex’s best friend and climbing partner, renowned mountaineer Conrad Anker. After the tragedy, Anker and Alex’s widow, Jennifer, fell in love and married, and Anker stepped in to help raise Alex’s three sons. The film will follow Max Lowe in his quest to understand his iconic late father as he explores family’s complex relationships in the wake of his father’s death.

■ Mission Joy — Finding Happiness in Troubled Times, a profound and jubilant exploration of the remarkable friendship between Archbishop Desmond Tutu and His Holiness the Dalai Lama, closes out the PJDS Fall season on Nov. 15. Inspired by the international bestseller, The Book of Joy, the documentary welcomes viewers into intimate conversations between two men whose resistance against adversity has marked our modern history. Co-Directed by Louis Psihoyos and Peggy Callahan, the documentary reflects upon their personal hardships as well as the burden both men carry as world leaders dedicated to bringing justice to and fighting authoritarianism in their communities. Guest speaker is Co-Director Peggy Callahan via Skype.

The Fall 2021 Port Jefferson Documentary Series will be presented at 7 p.m. on select Monday nights from Sept. 20 to Nov. 15 at Theatre Three, 412 Main St., Port Jefferson and virtually the following day.

Please note COVID-19 protocols will be fully enforced at Theatre Three. All ticket holders must show proof of vaccination status at the door, where it will be checked by two physician volunteers. Minor children too young to be vaccinated must be accompanied by a vaccinated adult, and all audience members must wear masks.

Live screenings are capped at 100 people while virtual screenings are capped at 50 people. Tickets are $10 per person online or at the door. A film pass to see all the documentaries is $56. To purchase tickets, please visit www.portjeffdocumentaryseries.com. For more information, call 631-473-5220.

Book Review: ‘Down the Ways — The Wooden Ship Era’

by Beverly C. Tyler - September 16, 2021

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Reviewed by Jeffrey Sanzel

“The success of Long Island shipbuilding was due in part to its rural location and the three things Long Island had in abundance — water, men and material. Surrounded by water, Long Island was an ideal location for shipbuilding.”

Above, author Beverly C. Tyler at the helm of America’s Cup yacht NZ41 in the Hauraki Gulf, from Auckland, New Zealand in September, 2002. Photo courtesy of NZ 40/41

Last fall, History Close at Hand published Beverly C. Tyler’s informative Setauket and Brookhaven History Through the Murals of Vance Locke. His most recent offering is Down the Ways – The Wooden Ship Era. Subtitled “East Setauket Shipbuilders, Ship Captains, Maritime Trades and Dyer’s Neck Homes,” the book is a celebration of an industry seen through a very local prism.

As with his earlier work, Tyler leads with the deepest and sincerest respect for the indigenous people of Long Island — and, in particular, the Setalcotts. And while the title suggests a narrow exploration, the introductory pages place the topic in context. Fiscal, political, and agricultural information is presented, including the influence of the Erie Canal and the effects of the War of 1812.

Tyler references a wide range of sources, some dating back to the seventeen century. His research is meticulous, organized, and marvelously well-documented, with facts and figures as well as many dates to give the arc of the shipbuilding experience. Here are shipbuilders and ship workers, captains and crewmen. The rise and fall of the whaling industry and life on the sea give additional scope. Tyler does not shy away from touching on complicated issues, including slavery and the freed descendants whose treatment onboard was little better.

The focus of the book is on one area adjacent to Setauket Harbor. Tyler has cleverly constructed Down the Ways as a tour of the Dyer’s Neck Historic District. There are thirty-two stops, beginning on Bayview Avenue and ending with Scott’s Cove. A history of the place, its relationship to the shipbuilding industry, and the home’s inhabitants are vividly presented with each location. Facts blend with interesting trivia. These include Thomas W. Rowland, who had twelve children — six by each of his two wives; Mary Swift Jones’ voyage to eastern Asia, including Japan and China; Town of Brookhaven historian Barbara M. Russell’s account of Shore Acres boarding house; among other anecdotes.

In addition, detailed but succinct descriptions of a range of careers and businesses, including blacksmith, ship joiner, carpenter, and ship chandlery, are explained. (A special note of the use of color in the text will make it easier for younger readers to discern the shift in focus and allow for easy location of information. Little doubt that this book will be an excellent resource for both the general reader and the student studying Long Island history.)

A special section focuses on the author’s grandfather, Captain Beverly Swift Tyler, who was a ship captain, boat builder, racing sailor, and boarding house owner. This unique and personal inclusion further brings to life the living history element of the writer’s undertaking.

Visually, this is a striking tome. Down the Ways includes reproductions of maps, paintings, murals, clips of period newspapers, and a wealth of beautiful photos, both historical and current. All of them have been richly integrated into the text. In addition, dozens of pictures juxtaposing the current residence with those from early periods display both the changes and what remains the same.

Down the Ways is more than just a book. It is an opportunity to explore a Long Island neighborhood in a completely different way. So, pick up a copy of the book, make your way to 41 Bayview Avenue, and let Beverly C. Tyler guide you on a course that will take you on an enlightening journey through time and place

ABOUT THE AUTHOR:

Beverly C. Tyler is a writer, author, photographer and lecturer on local history. He has conducted walking tours and field trips as Revolutionary War farmer and spy Abraham Woodhull and as a 19th-century ship captain.

Mr. Tyler writes a local history column “History Close at Hand” for the TBR Newspapers’ Village Times Herald. He has written more than 900 local history articles since 1975. His most recent book, Setauket and Brookhaven History through the Murals of Vance Locke was published in November 2020.

Down the Ways — The Wooden Ship Era is available through the Three Village Historical Society online gift shop at www.tvhs.org.

Movie Review: Action-packed ‘Shang Chi and the Legend of the Ten Rings’ hits local theaters

Arts & Entertainment

by Jeffrey Sanzel - September 16, 2021

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By Jeffrey Sanzel

Summer has long been the mainstay of cinematic superhero releases. Joining this season’s Black Widow and The Suicide Squad is Marvel Studio’s Shang-Chi and the Legend of the Ten Rings, an enjoyable, if not wholly inspired, two hours.

In the wake of the hit television show Kung Fu, the Shang-Chi character debuted in Special Marvel Edition #15 (December 1973) and starred in a solo title through 1983. Spun-off from author Sax Rohmer’s work, Shang-Chi was the unknown son of Rohmer’s arch-villain, Dr. Fu Manchu. Writer Steve Englehart stated that Shang-Chi’s name came from the study of I-Ching, with “sheng” meaning “ascending” and “chi” vital energy. After Marvel lost the rights to Rohmer’s rogue, the company renamed Shang-Chi’s father, Zheng Zu.

After a nearly five-decade history, and several attempts dating back as early as 1980, Shang-Chi has now made it to the big screen in a colorful, predictable action-adventure.

The film opens over a thousand years ago, with Xu Wenwu (Tony Leung) wielding the ten rings, bands that give extraordinary power to their holder. With his organization, the Ten Rings, behind him, he becomes a warrior-conqueror throughout hundreds of years of history.

In 1996, he becomes obsessed with locating Ta Lo, a village said to be the home of mythical beasts. He journeys through a magical forest, where the Ta Lo village guardian, Ying Li (Fala Chen), thwarts him. The two fall in love and leave the village, living in peace with their two children. Wenwu’s enemies, the Iron Gang, murder Li, causing Wenwu to resurrect the Ten Rings. He trains his son, Shang-Chi, in martial arts. When Shang-Chi is fourteen years old, his father sends him to avenge his mother’s murder.

The film jumps to present-day San Francisco. Shang-Chi (Simu Liu), now mild-mannered parking valet “Sean,” lives a quiet, unimpressive life, palling around with his best friend, the thrill-seeking Katy (Awkwafina). After an attack by the Ten Rings, Shang-Chi shares his past with Katy, and they journey to Macau in search of Shang-Chi’s sister, Xu Xialing (Meng’er Zhang).

The intersection of legend and legacy, fantasy and family, and the all-important good versus evil follows. Thematically, the writers emphasize the idea that we are all “a product of what came before,” intersecting with the more violent “a blood debt must be paid by blood.” Shang-Chi confronts that he must “face who [he is].” Much of this works because of Simu Liu’s “Who me?” charm growing into a more self-actualized and self-aware individual. With his inherent “watchability” and appealing warmth, he easily carries the film.

While the supporting roles are underdeveloped, the cast is more than capable. Awkafina makes for an affable sidekick who comes into her own. Leung brings the gravitas with a touch of underlying pain to the patriarch. One wishes that Zhang’s Xialing had been given a bit more dimension as there is a wealth of potential. Her struggle with a sense of childhood abandonment is touched upon but not fully realized. Ben Kingsley reprises Trevor Slattery, a character introduced in the Marvel One Shot short film All Hail the King. Without previous knowledge, this inclusion is a bit off. Kingsley is amusing, especially interacting with the mythical beast, whom he calls “Morris,” but lacking the background, the result is an unfulfilling cameo.

But the true raison d’être of the film is the many action sequences, which range from extraordinary pairings to epic battles. There are enough fights to satisfy the cravings of even the most eager fans. There are battles on a bus, in a fight club, a parking garage, a bar, a field, etc. There is a point where it almost feels like a demented Green Eggs and Ham—“Would you, could you in a …”—and insert a location. But they are all beautifully staged, the more pastoral echoing the landmark Crouching Tiger, Hidden Dragon.

The CGI is neatly integrated, with a range of hybrid animals and fantastical creations. While, of course, created on a vastly higher level, there are nostalgic shades in the monster encounters, reminiscent of the stop-motion animation of Ray Harryhausen or even the earlier Godzilla movies.

Director Destin Daniel Cretton collaborated on the screenplay with Dave Callaham and Andrew Lanham. And while the dialogue is often stiff and declarative (with a handful of shoehorned wisecracks), the film is busy enough to keep propelling forward. With enough plot and lots of action, Shang-Chi and the Legend of the Ten Rings epitomizes summer fare. And, like the majority of the genre, it will most likely be the first of many in the series.

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

Movie Review: Amazon’s ‘Cinderella’ is a fresh take on a classic fairy tale

by Jeffrey Sanzel - September 10, 2021

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By Jeffrey Sanzel

Cinderella has long been a cinematic staple, with various versions on the large and small screens. The story traces its roots to both Charles Perrault (1697) and the Brothers Grimm (1812), though the former gave us the glass slipper.

America’s sweetheart, Mary Pickford, appeared in the earliest known adaptation, the 1914 silent film. None is more beloved than the 1950 Disney cartoon, loosely remade as a live-action version in 2015, with a luminous Lily James. The Rodgers and Hammerstein musical has gone through three television incarnations, with Cinderella portrayed by Julie Andrews (1957), Lesley Ann Warren (1965), and Brandy (1997). Add to these the many appearances of the character in modernizations, sequels, spoofs, and revisionist fair.

In addition, Cinderella has appeared in operas, ballets, and stage productions, including the 2013 Broadway production and Andrew Lloyd Webber’s current West End vision, replete with a Goth heroine.

Kay Cannon, best known for the Pitch Perfect series, has written and directed the latest incarnation. The musical follows the basic plot: With the aid of a fairy godmother, an orphaned waif (put-upon by her stepmother and stepsisters) catches the eye of a prince and lives happily ever after.

Utilizing pop hits, Cannon has created a peripatetic world in Candy Land colors and clashing patterns. The opening number, a mashup of Janet Jackson’s “Rhythm Nation” and Desirée Weekes’ “You Gotta Be,” plays like Beauty and the Beast’s “Belle” on speed. It is explosive and joyfully aggressive, setting the tone, more The Greatest Showman and less Disney. (Both pieces share the athletic and often delightful work of choreographer Ashley Warren.) Other numbers include “Somebody to Love,” “Material Girl,” and “Perfect,” all fairly well integrated.

Where this Cinderella departs is in its feminist viewpoint. Cinderella’s greatest desire is to design dresses for her own shop. Forbidden to pursue her dream by her stepmother, she also faces the town’s prohibition on women owning businesses. Cinderella’s quest is not for a man; it is for independence and a sense of self. Much of this is presented on the nose and succeeds because of a charismatic star.

Singer Camila Cabello holds center as a strong, funny, and intelligent Cinderella in her acting debut. She also composed the movie’s (oft-repeated) “Million to One,” a predictable if tuneful number. Nicholas Galitzine’s Prince Robert has almost as much screentime. In line to be king, Galitzine alternates between traditional Crown Prince and frat boy. He is “charming,” if a bit bland, due to his ambivalence to his eventual succession. Unfortunately, his passivity makes him less engaging and no match for Cabello’s feisty, forward-looking Cinderella.

The rest of the all-star cast mostly triumphs over uneven material. The marvelous Idina Menzel, who has the film’s strongest voice, struggles with finding Cinderella’s stepmother Vivian’s center. She ranges from comic villainy to severely cruel, with peaking glimpses of humanity. Instead of creating dimension, the character feels unfinished. Maddie Ballio and Charlotte Spencer are hilarious and a pure delight as stepsisters Malvolia and Narissa. They deserved more screen time and a number to themselves as they become sidelined.

The royal family features Pierce Brosnan as a king who is more bluff than gruff, Minnie Driver as his better half, and Tallulah Greive as the mildly scheming princess who aspires to rule. There is so much going on and yet very little result. Like with the stepsisters, Greive warranted a bigger presence. All three performances are good if incomplete.

Billy Porter is the Fabulous Godmother, and Fabulous he is. Porter should appear in every new movie, if not by his choice, then by Act of Congress. He brings hilarity, sensitivity, and depth to his five minutes of screen time.

The ensemble is composed of wonderful dancers who land the handful of lines peppered throughout the larger scenes. Cannon has corralled the company nicely — though she failed to mine a very funny piece of business with a royal choir.

Ultimately, the entire movie is entertaining if unfulfilled potential, with the scales tipping back and forth. Five-note range generic pop songs follow clever lines. Spectacular dance numbers spell stretches of declarative dialogue telling us the ideas of equality rather than showing them. Cannon struggles to find a consistent writing style. Some moments swipe at a period quality. Other scenes aim for a tough, clear reality (a particularly awkward exchange between the monarchs that borders on embarrassing). But mostly, the dialogue is contemporary “sass,” which is what serves its cast best. It aims for “poppin’” (as one character states) but often tries a bit too hard.

While this Cinderella will never achieve status as even a semi-classic, it reflects its time. And, with a message of self-actualization, the solid cast is up to the telling. Like its prince, this Cinderella might not be Mr. Right — but it’s Mr. Right Now.

Rated PG, Cinderella is playing in select theaters and on Amazon Prime.

Remnants of Ida drown Port Jefferson village

by Julianne Mosher - September 3, 2021

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The North Shore of Long Island was hit hard when the aftermath of Tropical Depression Ida swept along the East Coast.

While the storm pummeled the Island Wednesday night, the National Weather Service issued a tornado warning for Suffolk County. Severe flooding headed down Main Street, E Broadway and the side streets of Port Jefferson, causing damage to local stores, the Port Jefferson Fire Department and Theatre Three.

On Wednesday night the fire department responded to numerous water rescue emergencies, and multiple victims were rescued from their vehicles by its High Water unit. They were joined by the Terryville Fire Department and Mount Sinai Fire Department.

According to the PJFD, in some cases, civilians were found on the roof of their vehicles, or trapped within a floating vehicle. Additionally, a landslide took place on Dark Hallow Road, which left the road essentially impassable with nearly 4-feet of mud and debris.

As a result of the landslide, eight families were evacuated from their apartment building due to unstable conditions of the land.

While fire department volunteers made their ways out to help others, they, too, were victims of the storm. The firehouse on Maple Avenue suffered extensive flood damage.

“Our firefighters did an excellent job coordinating multiple rescues,” said Chief of Department Todd Stumpf. “We have a lot of cleanup ahead, but we are fully in service and able to respond to all emergencies.”

He added that fortunately no injuries were reported during the storm.

Down the street, Theatre Three said they had more than three-and-a-half feet of water inside as of Wednesday morning.

Executive artistic director Jeffrey Sanzel said that the theatre has had its fair share of floods throughout the years, and even though they were more prepared for Ida than others in the past, it was still a hard hit.

“This will be two or three days of cleaning,” he said, “But we’ll get it done and you won’t know what happened.”

Water record-setting levels heading too close for comfort to the stage downstairs. Sanzel said water knocked over and carried one of the dumpsters outside, as well as damaged dozens of costumes, furniture and a beautiful, donated upright piano that is now ruined.

Other businesses like Ruvo and Lavender Fields had flood damage and are currently in the midst of cleaning up.

“Port Jeff was hit again with a flash flood of over 7’’ of torrential rainfall,” said Mayor Margot Garant. “While it hit hard, we remain resilient and continue our work with the state emergency office and state agencies on our flood remediation efforts.”

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