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Jeffrey Sanzel

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Photo courtesy of Hulu

Reviewed by Jeffrey Sanzel

One of the most fascinating public figures of recent years is Greta Thunberg, the Swedish environmental activist. At the age of fifteen, Thunberg began a solo protest of climate change by sitting outside of Swedish Parliament. Beginning in August of 2018, she spent the days she should be in school with a sign reading “School strike for climate.” 

Thunberg’s quest to bring attention to climate change has sparked a worldwide movement, bringing both support and harsh criticism to her and her cause. The documentary I Am Greta tells this story. Director Nathan Grossman followed Thunberg from her early protests in 2018 to her testimony at the U.S. House Select Committee on the Climate Crisis the following year. Whether Grossman was prescient or just lucky is hard to judge.

The film chronicles Thunberg’s rise in fame: from people on Stockholm streets questioning why she wasn’t in school to meeting European heads of state. Furthermore, it touches on how she became a target of derision from deniers across the globe. At the heart of Thunberg’s message is her belief that the adults of the world have failed to stop what is the most dangerous and most immediate threat to the future. She calls out this failure to act: “Adults always say one thing and then do something completely different.” She has no hesitation in citing hypocrisy

Presented early in the film is Thunberg’s Asperger’s, a syndrome that places her on the autism spectrum. She has not seen this as restrictive. “Sometimes, it seems that we who have Asperger’s —autism — are the only ones who see through the noise.” She believes that this condition has allowed her the ability to give climate change her complete focus. When asked by a reporter if she suffers from Asperger’s Syndrome, she replies, “I wouldn’t say I suffer from … but I have it.” Further, she states: “I don’t see the world in black and white. It’s just the climate issue I see in black and white. “Sometimes I feel that it might be good if everyone had a tiny bit of Asperger’s … at least when it comes to climate.”

Thunberg’s obsession with what she considers “the defining issue of our time” began when she was eight years old. The showing of a film in school on the topic sent her into a deep depression. She stopped eating and suffered from selective mutism. Until that point, her family led a “high consuming” life, as demonstrated in a handful of home movie clips. Thunberg explains her insistence that her family converted to lives that were simpler and environmentally friendly: no flying, using an electric car, giving up meat and dairy, etc. 

The film is a wealth of footage of her crusade across the world. Starting with the passing out of flyers in Stockholm to her speaking to 30,000 people at the U.N. Climate Change Conference in Poland to a string of engagements throughout Europe, she continues to spread her message. Thousands of students have taken up her #FridaysForFuture. 

Throughout, Thunberg confronts leaders for going forward with the same bad ideas to remain popular; she makes clear that popularity is not her concern. This view has made her a lightning rod for petty politicians who dismiss her as “mentally ill.”

Perhaps the most frustrating part of the film is the title: I Am Greta. It would have been better titled Greta’s Journey or Greta Thunberg, Activist. There are no interviews with people who know her or have worked alongside her. There are glimpses of who she is but many of these moments have a disingenuous feel. There is a good deal of footage of day-to-day life with voiceovers — in class, in the car, in the lunchroom — but nothing that adds up to a better understanding of her as a person. There are a few moments of her dancing that seem inorganic. Thunberg’s struggle to finish writing a speech and her father arguing with her to stop feels strangely staged. And yet, perhaps it is this absence of personal details that gives a stronger sense of her preoccupation.

In a revelatory moment, she says, “I don’t like making small talk … socializing with people …” which can explain the stretches of silence and the lack of her interaction beyond the driving passion. She indicates that she grew up with other children being unkind; she was not invited to parties and was always left out. She spent most of her time being with her family and her dogs. Her father is the most present in the film, with her mother appearing briefly and her sister not at all.

One of the joys is her spontaneous laughter that pops up in unexpected moments. In particular, this is Thunberg’s response to those attacking her on social media; her ability to see their smallness and inconsequentiality are telling. She laughs hysterically in reaction to a photo of herself with Pope Francis. Another personal moment is her mother teaching her to bake. Again, the laughter indicates this is a genuine event.

The climax of the film is her address to the U.S. House Select Committee on the Climate Crisis on September 18, 2019. Since she refused to fly, she took a harrowing fifteen-day journey in a sailboat from Plymouth, England, to New York harbor, where she was greeted by hundreds if not thousands of supporters.

Her eight-sentence statement to the committee — spoken in her nearly flawless English — is scathing and resonates in its directness. “How dare you?” The message is summed up with “You are failing us.”

“The world is waking up and change is coming whether you like it or not.” Thunberg has inspired the largest strike for climate in history — more than seven million people. And yet, the world is still not on track to meet the Paris Agreement. She still goes on strike every Friday. And hundreds of thousands still support her. “Once the climate crisis has gotten your attention, you can’t look away.” Ms. Thunberg has our attention. The rest is up to us.

I Am Greta is currently streaming on Hulu.

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Volunteers from Theatre Three gathered food and other assorted items for the Open Cupboard Food Pantry out of the Infant Jesus R.C. Church in Port Jefferson on Dec. 12. by Kyle Barr

By Kyle Barr

It might be the spirit of giving, or perhaps the lingering essense of Scrooge’s final transformation, but Theatre Three’s latest food drive of the year may have been their biggest one yet.

Even with Theatre Three having been effectively shut down because of COVID, its board members, staff and volunteers have continued to work to better the community. The group gathered food and other assorted items for the Open Cupboard Food Pantry out of the Infant Jesus R.C. Church in Port Jefferson Dec. 12. Their efforts stuffed the theater van plus a Toyota 4Runner with food a total of four times in just a few short hours. Well over 100 cars showed up, despite the rain, to offer the theater what they could.

For the holiday season, the group also hosted a toy drive, in which families from all over gave some pretty significant items.

“The toys, they were good quality toys — Star Wars, LEGOs, good stuff,” said Brian Hoerger, a board member and facilities manager for Theatre Three. Hoerger helped start the string of food drives this year after the beginning of the pandemic, when he and other community members donated 15 iPads to local hospitals. Those devices were desperately needed at the pandemic’s height, when patients needed them to communicate with family members no longer allowed inside hospital rooms. 

Though this is the sixth food drive held through Theatre Three, this latest effort ended the year with a bang.

“There was a lot of stuff today — we’re very happy,” said Theatre Three’s Executive Director Jeffrey Sanzel. “This was one of our most successful drives since the first one.”

The drive also gained over $900 in cash donations plus nearly $600 worth of gift cards. The day’s efforts were so successful that Hoerger held a second drive the following day for all the persons who could not come out on Saturday. The Theatre Three facility manager used some of the cash funds to purchase additional food for Open Cupboard.

Updated: The group will host another food drive on Saturday, January 23 from 9 a.m. to 1 p.m. outside Theatre Three. For more information, call 631-938-6464.

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Photo from Netflix

Reviewed by Jeffrey Sanzel

The world of cinephiles divides between those who think Citizen Kane is one of (if not the) most brilliant films ever made — and those who think it is over-rated. Hundreds of thousands of words have been written about the film, dissecting its structure, cinematography, symbolism, background, and place in moviemaking history. 

The American Experience produced the documentary The Battle Over Citizen Kane (1996). It chronicled the battle between Orson Welles and William Randolph Hearst over the creation and release of the film. It was followed in 1999 by the historical drama RKO 281, which covered the same material and starred Liev Schreiber as Welles, James Cromwell as Hearst, and John Malkovich as screenwriter Herman J. Mankiewicz.

Netflix now offers David Fincher’s Mank. Fincher, best known for thrillers (Seven, Panic Room, Alien 3, Fight Club), has directed his late father Jack Fincher’s fascinating screenplay, less exploring Citizen Kane but instead focusing on the man behind the screenplay, Herman Mankiewicz. This is a piece of high style, evoking the noirish films of the 1940s; in essence, it tells the story in the way in which Welles himself would have. 

The film alternates between 1940 when Welles is eagerly waiting for Mankiewicz to finish the screenplay, and the early 1930’s where Mankiewicz is struggling to find a foothold. The screenplay, which would become Citizen Kane, is a thinly veiled and vicious take on the life of newspaper mogul Hearst and his relationship with his lover, Marion Davies. Mankiewicz is to receive a large fee for the screenplay but no credit. Laid up with a broken leg, he embarks on meeting Welles’ deadline.

Those looking for an account of the making of Citizen Kane should look elsewhere. Mank is instead an exploration of Hollywood, specifically the politics of show business and show business’ involvement in politics. A good deal focuses on the California gubernatorial election of 1934 and how the Republican MGM hierarchy ran a smear campaign against left-wing author Upton Sinclair.

Presented is a Hollywood of hedonism and an old boys’ network, of backroom deals, demanded loyalty, and the unchecked intersections of film, power, and money. In the midst of this is Mankiewicz who is battling his demons, both in his career and with his alcoholism. It is a story in which the protagonist is Quixote and Cervantes, an intriguing and demanding drama that requires full attention.

If the definition of being a great actor is to lose oneself in the role to the point of being unrecognizable, then there is no finer actor than Gary Oldman. He is a true chameleon. It is hard to measure his performances against each other because no two are alike in any way. His Mankiewicz is unique: charming, insightful, dissipated, conflicted, and inscrutable. It is one of the best performances of 2020.

Amanda Seyfried brings charisma and depth to Marion Davies, in contrast with Citizen Kane’s Suzanne Alexander Kane, a spoiled and unaware gold digger; Seyfried’s Davies has a core of honesty and a surprising self-awareness. Arliss Howard is effective as the volatile studio head Louis B. Mayer, a monster manipulator with no conscience. Charles Dance finds shades in his portrayal of Hearst that humanizes the character but in no way detract from the man’s ability to destroy. Tom Burke’s Orson Welles hovers around the periphery, more seen than heard (which is a good thing as he has successfully recreated Welles’ voice as his resemblance is only passing). Sam Troughton makes for a fussy John Houseman, sent by Welles to watch over Mankiewicz. Tuppence Middleton finds warmth and intelligence in Sara, Mankiewicz’s tolerant wife, as does Lily Collins as Rita Alexander, the willful secretary who assists him. The film is populated with cameos of icons of the era (Joan Crawford, Norma Shearer, Ben Hecht, George S. Kaufman, etc.) that enhance the epic feel.

The film is shot in rich black-and-white; Erik Messerschmidt’s cinematography deserves high praise. Equally credited should be Kirk Baxter’s spot-on editing. Donald Graham Burt’s production design complements the art direction of Chris Craine and Dan Webster. Trish Summerville’s hundreds of costumes perfectly reflect the era. 

Fincher’s collaboration with these artists has resulted in a vision of the darker Hollywood of another era. Mank is not so much a film about a film. It is instead a thoughtful portrait of the construction of art in the face of warring forces. 

In the end, Mankiewicz (who did not attend the ceremony) receives the Academy Award for Best Screenplay. Mankiewicz’s career would never reach another high of this proportion, and he would die thirteen years later from complications due to alcoholism, a genius dead at the age of fifty-five. This tacit and disturbing ending is an appropriate coda to an introspective and absorbing film.

Rated R, Mank is currently streaming on Netflix.

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COVID-19 made it impossible for the traditional Run to the Port Jeff Brewing Company happen in 2020, but the Brewery and the Greater Long Island Running Club [GLIRC] banded together to stage a “virtual” 15K, 10K, and 5K that raised $1000 for the 2020 charitable beneficiary Theatre Three in downtown Port Jefferson.

A check for $1000 was presented to Theatre Three at the Brewing Company on Dec. 18.

Theatre Three is a not-for-profit dedicated to developing an appreciation for the art of live theater among the residents of Long Island. The theater presents a diverse program of fresh and imaginative revivals of classics and modern plays and is an arena for previously unproduced plays, and works towards their future development. Theatre Three provides an environment in which talent can be nurtured, encouraged, and trained in the pursuit of a professional career. 

During the pandemic, there have been no live performances at Theatre Three, so the Brewery and GLIRC were happy to be able to help the theatre stay afloat in these troubled times.

Pictured at the presentation, from left, is GLIRC Race Director Ric DiVeglio; Theatre Three Board of Directors member Brian Hoerger; Theatre Three Managing Director Vivian Koutrakos; Theatre Three Executive Artistic Director Jeffrey Sanzel; Port Jeff Brewing Company owner Mike Philbrick; and GLIRC Executive Director Sue Fitzpatrick.

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Viola Davis in a scene from the movie. Photo from Netflix

Reviewed by Jeffrey Sanzel

August Wilson, one of the foremost American dramatists, created the ten-play cycle The Pittsburgh Plays. The pieces explored different elements of the African-American experience, each work set in a different decade. The second play (and third chronologically) was Ma Rainey’s Black Bottom. Inspired by blues singer Ma Rainey, it was set in a fictional recording session in Chicago. It opened on Broadway in 1984, receiving strong press and running for 276 performances.  

Netflix now offers an excellent film that enhances the stage production. George C. Wolfe has skillfully and sensitively directed a screenplay by Ruben Santiago-Hudson. Santiago-Hudson has wisely drawn the majority of the script from Wilson but has opened it up, most notably with a prologue showing Ma Rainey’s southern performance roots and the shift of African Americans from south to north in the Great Migration.  

The action shifts to the studio where the musicians await the arrival of Ma Rainey. The artists smoke, drink, and banter, and philosophize. But what seems like random chatter is a reflection of social injustice then and now. The men offer stories and anecdotes, with this slice of life elevated by Wilson’s honest and poetic words and exceptional performances.

Serving as the leader is guitarist and trombonist Cutler (Colman Domingo); Toledo (Glynn Turman) is the pianist and eldest of the group; Slow Drag (Michael Potts) plays double bass and Levee Green (Chadwick Boseman) is the rebellious trumpeter with big dreams. This quartet offer a glimpse into the challenges of being both black and musicians in the Chicago of the 20’s. The studio is run by Mel Sturdyvant (Jonny Coyne), whose mercenary tactics are slowly revealed. Irvin (Jeremy Shamos) is Ma’s anxious manager.

Ma Rainey (Viola Davis) arrives an hour late, setting off various complications. She is accompanied by her girlfriend, Dussie Mae (Taylour Paige), who has eyes for Levee, as well as her stuttering nephew, Sylvester (Dusan Brown), who she insists introduce the recording of “Black Bottom.”

What ensues is a battle of wills that represent issues of both music and race. While Ma appears to be difficult, it is really a matter of survival. She knows that she is being used by these white men, and they only cater to her as far as their needs. Viola Davis, possibly the finest actor working today, completely loses herself in Ma Rainey’s frustration and triumph. It is a flawless and mesmerizing performance of a woman who understands the nature of an unfair world.  

The film also marked the final performance of Chadwick Boseman, who sadly died of colon cancer at the age of forty-three. His performance is nothing less than brilliant, bouncing between Levee’s energetic and monomaniacal determination to create his own band and his inner demons. These lead to clashes with both Ma and his fellow musicians. His relating of his mother’s rape and his father’s revenge is one of the most chilling and raw moments in this or any film. 

The entire cast deliver dimensional and wholly present performances, easily drawing us into this world where they face both petty and large demands at every turn. Their stories take different shapes, some metaphoric and others brutally and vividly real. There is not a false or wasted moment. It builds to a harrowing climax and an equally brutal and telling coda. 

Ma Rainey’s Black Bottom celebrates the power of the blues, chronicling an important part of African American history. It is a reminder of art and of exploitation, of defiance and disappointment. It is also an exceptional film. Rated R, the film is currently streaming on Netflix.

Photos courtesy of Netflix

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Center, from left, Ariana Rose and Jo Ellen Pellman in a scene from the film. Photo courtesy of Netflix

Reviewed by Jeffrey Sanzel

In 2018, the musical The Prom made its Broadway debut at the Longacre Theatre.  With music by Matthew Sklar, lyrics by Chad Beguelin, and book by Bob Martin and Beguelin, it dealt with a group of narcissistic Broadway actors who are trying to change their unlikable images. Looking for a cause, they select a lesbian high school student who is denied the right to take her girlfriend to the prom. The quartet of Broadway performers travel to the conservative Edgewater, Indiana, where, in an attempt to help, they wreak havoc. Ultimately, it all works out in the way that musical comedies do.

There was a great deal of feel-good material and a lot of messages about understanding and tolerance in the show. Casey Nicholaw strongly directed the production, if leaning a bit into the over-the-top humor alternating with easy sentimentality. His choreography was engaging and vigorous, often leaning towards the athletic. The original cast was made up of Broadway veterans who brought out the best in the material. For the most part, the reviews were good but it failed to find an audience and closed within the year.

James Corden, Nicole Kidman, Andrew Rannells and Meryl Streep in a scene from the film. Netflix photo

Ryan Murphy, who was one of the Broadway producers, has now directed a film version which has been released on Netflix and is also currently playing in movie theaters. Murphy recruited Martin and Beguelin to write the screenplay with the majority of the score intact. They have opened it up, taking advantage of a range of locations to give it more variety and a more kinetic energy. There are also some good flashbacks that enhance the story as well. Murphy has shown the same care and whimsy here that he did with the recent Netflix miniseries Hollywood, and the result is an entertaining two hours.

Murphy has replaced the entire Broadway company with well-known film and television personalities. So many cinematic stage transfers have been ruined by stunt casting that fails to preserve the integrity of the source material. That said, Murphy has assembled an excellent company who deliver. 

Meryl Streep is delightful as the Broadway diva, Dee Dee Allen. She is outrageous but grounded in her own selective reality and manages to make Dee Dee both insufferable and likable, often simultaneously. Her singing voice is solid, and she manages the big numbers well enough. Andrew Rannells is a younger, edgier take on the Julliard-trained Trent Oliver; he has real musical theatre chops (The Book of Mormon) and a hipper approach to the character.

Keegan-Michael Key evokes the right balance of controlled concern and star-struck fan as the principal who is enamored with Dee Dee. Kerry Washington brings snap and spark to the outraged PTA president who is doing all she can to keep the prom “straight.”  Kevin Chamberlin is charming as the long-suffering agent.

Only Nicole Kidman seems lost as the perpetual chorus girl, Angie Dickinson. Her vocals are adequate but she never finds her way with the character. It is also clear that she is uncomfortable with the Fosse style and it undermines her big number — “Zazz” —  and ultimately the character’s core.

Jo Ellen Pellman has a beautiful voice and winning presence as Emma Nolan, the girl who just wants to go to the prom. She shines through the entire film — one just wishes she wasn’t smiling the entire time; the absence of angst makes the final moments not quite as cathartic. Ariana DeBose as Alyssa, the daughter of the crusading PTA president, ably shows her internal conflict as Emma’s closet girlfriend and delivers in her musical number, “Alyssa Greene.” The ensemble of young singer-dancers handle the big numbers well and have a nice ease about them.

But if the film belonged to any one performer, it would be James Corden as Barry Glickman, Dee Dee’s costar in the failed Eleanor Roosevelt musical that incites the entire plot. He is warm and funny but truly vulnerable. He is completely at home as both a singer and a dancer, making his numbers some of the best moments. In many ways, it becomes just as much his story as Emma’s.

The film has a strong start, moving quickly from place-to-place and song-to-song, everything cast in a musical comedy glow. There are many excellent production numbers that are hilarious — “Changing Lives,” “It’s Not About Me,” and “Love Thy Neighbor” — and just plain joyous —“Tonight Belongs to You.” Murphy wisely retained Nicholaw as choreographer.

It is unfortunate that the second half of the movie sags a bit with dramatic scenes that have been introduced to give both weight and extended background to Barry and Dee Dee. While it gives the two actors an opportunity to emote, the tonal shift and the additional time do nothing to drive the action forward.

These additions necessitated the trimming of several numbers, most notably “The Acceptance Song,” done at a monster truck rally.

This is a minor quibble in an overall enjoyable outing. The Broadway quartet learn and grow, just as we know they would.  Emma and Alyssa celebrate their love with the exuberant “It’s Time to Dance” — as celebratory here as it was on Broadway.

If people take exception to the ease with which minds are changed and bigotry is overcome, it should be reminded that this is the world of fantasy. Just as with his Hollywood, Murphy offers us not necessarily the world we have but perhaps the world we can hope for — and some really terrific production numbers along the way.

Rated PG-13, The Prom is currently playing in local theaters and on Netflix.

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Glenn Close and Amy Adams star in film adaptation of best-selling memoir by J.D. Vance. Photo courtesy of Netflix

Reviewed by Jeffrey Sanzel

In 2016, J.D. Vance published Hillbilly Elegy: A Memoir of a Family and Culture in Crisis. In it Vance examined his family’s Appalachian roots and values and how they affected their lives in Middletown, Ohio. He highlighted the contrast of loyalty and love of country with a history of violence and abuse. The book was an immediate but controversial bestseller.

So overwhelming was the response to his view on what were perceived as myths about poverty, the book Appalachian Reckoning: A Region Responds to Hillbilly Elegy was brought out in 2019.  This collection of essays criticizes Vance’s opinions and generalizations. Over the years, Vance has become a vocal social conservative.

From left, Haley Bennett, Gabriel Basso and Amy Adams in a scene from the film. Photo courtesy of Netflix

Netflix now offers a film adaptation that basically eschews the more direct political elements of the autobiography and instead focuses on his struggle both as a teenager and a student at Yale. With an engaging if narrow screenplay by Vanessa Taylor and focused direction by Ron Howard, they have chosen to tell a personal story that will still raise many of the questions and complaints resulting from the book.

The film alternates between 1997 and 2011, with the teenage Vance struggling with his home situation and the older Vance working three jobs while attending Yale and attempting to land a summer internship with a law firm in Washington. What ensues over the next two hours is the unwinding of his childhood history along with his present struggles as Vance returns home to once again deal with his volatile mother. In some ways, the film is a blending of the traditional coming-of-age story with the well-trodden dysfunctional family saga.

The film’s strength lies in its performances. Gabriel Basso plays the older Vance with a mix of stoicism and vexation as he tries to navigate his familial responsibility while trying to go advanced his life and career. He believably conveys the battle between past and future. Owen Asztalos, as the younger Vance, is the right mix of hope and disappointment. Both actors appear to be playing the same person which does not always happen in film.

Haley Bennett, as Vance’s sister, shows her love and commitment that is overwhelmed by a sense of weariness. Freida Pinto is fine with the rather unexplored and undeveloped Usha, Vance’s Yale girlfriend (and later wife).

But the film belongs to two compelling performances. Amy Adams is raw and fearless as Vance’s drug-addicted, mercurial mother, a nurse with both substance abuse and mental issues. She alternates between expressions of unconditional love and brutal physical and emotional attacks. It is unlike anything Adams has done prior, with truly visceral pain and rage. (If it all seems a bit too much, that responsibility should be attributed to Taylor and Howard.)

Glenn Close is a gifted actor with technical skills rivaled by very few (Meryl Streep, being one of them). Her performances are usually complete but sometimes there is a sense of the mechanics behind them. In this case, she has completely subsumed herself in the role of Vance’s grandmother. She is unrecognizable as the calculating matriarch with an ugly history (that is only alluded to once) and a presence focused on her grandson’s survival and growth, most importantly through education. In this cold and disconnected woman, Close has found a strange warmth. In stillness and action, when she is on screen, the film is hers.

Many will take exception to Vance’s —and hence the film’s — point-of-view and its simplistic and dubious portrayal of the causes and results of poverty. This is a valid and legitimate concern. However, Hillbilly Elegy is worth watching for the performances of two great American actors.

Rated R, Hillbilly Elegy is currently streaming on Netflix.

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THE SECOND SPIRIT Andrew Lenahan stars as the Ghost of Christmas Present in Theatre Three’s virtual production of ‘A Carol for Christmas.’ The show premieres on Dec. 12. Photo by Eric J. Hughes

Theatre Three in Port Jefferson will premiere A Carol for This Christmas, a virtual performance adapted from Charles Dickens’ A Christmas Carol, on Dec. 12.

For over thirty-five years, Theatre Three has been presenting its acclaimed production of A Christmas Carol to thousands of Long Island theatergoers.  To continue this tradition, the theater has produced a virtual production that will be accessible through the theatre’s website and Facebook page on the Vimeo platform.

This new take on the holiday classic features six actors playing the many roles in the holiday classic, filmed socially distanced, with actors both onstage and in the theatre’s auditorium.  Jeffrey Sanzel has played Scrooge nearly 1,500 times and will once again play the miser who is redeemed by the ghosts of Christmases Past, Present, and Future.  He is joined by Theatre Three Christmas Carol veterans Andrew Lenahan, Michelle LaBozzetta, Linda May, Douglas J. Quattrock, and Steven Uihlein.

Sanzel has adapted and directed the 40-minute presentation, adhering closely to the heart and spirit of the 177 year-old novel.  Melissa Troxler is the Director of Photography.

As a gift to the Long Island community, the presentation will be offered for free at www.theatrethree.com. Donations to Theatre Three are greatly appreciated.

A Carol for This Christmas is made possible by the sponsorship of Andrew Markowitz.

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Linda May and Jeffrey Sanzel sort through donated items at Theatre Three's food drive in July.
Brian Hoerger, far right, an volunteers from Theatre Three drop off donated items to Infant Jesus Parish in July.
Donated items wait to be transported to the Infant Jesus Parish in July.
This month's food drive will be held from 9 a.m. to 1 p.m.

By Melissa Arnold

As the holiday season settles in, many people include giving to others in need as part of their annual traditions. Whether it’s food for a family struggling to make ends meet or toys for kids that might not get any gifts, sharing what we have is a big part of spreading holiday joy.

This year, more Long Islanders are facing financial difficulties than ever before thanks to the COVID-19 pandemic. Among the generous people stepping up to help is Brian Hoerger, a board member and Facilities Manager at Theatre Three in Port Jefferson.

Not long after the pandemic began, Hoerger, who was born and raised in the community, felt compelled to do whatever he could for his neighbors. He learned that local hospitals were searching for iPads and other devices to help connect patients with their family members who couldn’t be at their bedside.

“I donated an old one that I had at home, and then I thought it would be a good idea to see if I could raise a little extra money to donate a second one,” he said. “So I put something up on my  Facebook and that first night I had $2000 come in.”

Ultimately, Hoerger’s friends helped him donate 15 iPads to St. Charles and Mather hospitals. He later called Stony Brook University Hospital to ask how he could help them, too. Their answer: Food.

“They told me that some of the staff members were really struggling and needed help getting food on the table. They were already doing their own food drives, but they encouraged me to have one of my own,” he explained. “I put a table out in my driveway on my birthday, and people came by with all sorts of donations. It was a great way to celebrate, probably one of my best birthdays. Everyone was so into it.”

At the urging of his friends, he held a second drive a few weeks later. The response was even greater than the first.

Theatre Three’s Executive Director Jeffrey Sanzel regularly brought bags of donations to Hoerger’s food drives, and it wasn’t long before the wheels started turning again. What if the food drives were run by the theater directly? “We certainly have more space and a large audience to draw on [at the theater],” Hoerger said. “And people could just drive up and drop off their donations in a safe, contactless way. It checked all the boxes.”

Sanzel jumped at the proposal. The theater has hosted five food drives since June with the last one of the year planned this Saturday.

“We thought it was a wonderful idea, especially given the times we’re in,” he said. “We’ve had volunteers from the Theatre Three family help set up and run the drives and have had many show up with donations.  We plan on continuing for as long as we can, even after we reopen.”

In addition to helping out the hospitals, Hoerger has been donating food to Infant Jesus Parish in Port Jefferson, whose Open Cupboard Food Pantry provides food and other emergency supplies to people in the area.

In the early days of the pandemic, Infant Jesus social ministry coordinator Vicki Rybak was working curbside, doing her best to meet the needs of pantry visitors without the usual volunteer support.

“Prior to the pandemic, I would see much less than 30 families in a typical week,” said Rybak, who has spent 17 years serving the community. “Back in the spring, when things were really bad, I was seeing 60 to 65 families a week. Everyone was just trying to get by. They weren’t working, assistance was running out, and bills still needed to be paid.”

While the pantry had the funds to help, purchasing limits at grocery stores made it difficult to stay stocked. Hoerger used his connections to keep the donations coming.

As for what they need most right now, Rybak said that toiletries are always deeply appreciated by visitors.

“It’s about dignity — imagine what it would be like to go two weeks without washing your hair or not being able to brush your teeth with toothpaste, especially for kids and teens,” she added.

Rybak also hopes that volunteers might step up to help transport fresh produce and other products from farms whose excess inventory is sitting in storage, she said. “Fresh produce and dairy are like gold to us. It would be incredible if people could drive to the farms so that we can offer those items more frequently. Imagine what we could do if we had a few trucks delivering produce!”

This month, Theatre Three is also collecting unwrapped toys and gifts for ages 1 to 16. The toys will be given to children visiting the pantry.

This month’s Theatre Three Cares Holiday Food and Toy drive will run from 9 a.m. to 1 p.m. on Saturday, Dec. 12 (rain date Dec. 13) at Theatre Three, 412 Main Street, Port Jefferson. Donations will be collected behind the theater, on the building’s south side. Donors are welcome to remain in their vehicle if they’d like to make a contactless donation. For questions, call 631-938-6464.

The Infant Jesus Open Cupboard food pantry is open Tuesdays and Thursdays from 10 a.m. to noon at 220 Hawkins St., Port Jefferson, behind the church. For information, please call 631-928-0447.

Photos by Brian Hoerger

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Reviewed by Jeffrey Sanzel

“It’s not always about the time, but the place we are in our lives.”

Jeannie Moon’s Christmas in Angel Harbor (Tule Publishing Group, LLC) is a heartfelt romance of love deferred. As with all of her work, she creates engaging characters of charm and honesty. In this case, she has set her novel on Long Island, in the fictional town of Angel Harbor.

Author Jeannie Moon. Photo by Fox Gradin, Celestial Studios

Best-selling author Dan Gallo has returned home after an absence of several decades. It is revealed that his most recent novel inspired a psychopathic true-crime copycat. He has now decided to escape the fast lane and try to catch his breath by writing a more personal novel. He is also a man in search of himself; his quest is for an inner peace that his success has not provided. “He’d learned the hard way that a good life was a collection of small experiences. While big and flashy might impress in the short term, the millions of tiny details about an experience were what mattered.” He settles in with his sister’s family, living in a cottage on the property. He begins to unwind and to come alive.

Jane Fallon is the proprietor of Harbor Books. As a young woman, she had dreams of a world-spanning career in archeology. With her father’s sudden death, she felt obligated to return home to run the family bookstore. “It hadn’t been her dream job, but owning the store brought her many rewards and even more happy moments.” She is grateful for the life she has had — especially close bonds with both her mother, a retired school teacher, and her daughter, Tara. But Moon gives Jane a welcomed complexity: Jill still wonders about the life she could have had and that slight shadow of regret gives her an added dimension.

Throughout high school, Dan had used the table in the bookshop as his writing headquarters. Dan and Jane had been best friends since fifth grade and, while they had never been a couple, their relationship had an emotional intimacy. While Dan was getting ready for law school, Jane indicated that she wanted more. Spooked, Dan disconnected from Jane and the entire Angel Harbor community. Even when Jane’s father passed away, Dan maintained both distance and silence.

And now he has returned. Jane struggles with her feelings but, with great caution, allows him to begin writing at the table once again. “They were bound by an old friendship, and by the shared history of a small town that held one of them back, while the other shot forward.” Needless to say, they begin to rekindle what was snuffed out thirty plus years before.

What is delightful is the innocence of the courtship between two fifty year-olds. There is a sense of wanting to recover what was lost, picking up almost where they left off. Moon gives us a couple that is reminiscent of Our Town’s George and Emily: love and hope and possibility.  “… there was something magical about her, something so centered it was seeping into him. Even as she faced huge changes in her own life, she found a way to focus on others … for the first time since he’d left home all those years ago, he wasn’t on edge.” But their relationship is not without heat, and the pull between them is genuinely strong.

The  story begins two weeks before Thanksgiving and carries through the Christmas holiday. Both Dan and Jane are going through struggles, internal and external. Dan’s current project is outside his comfort zone; he wants to inspire readers and allow his work to be a source of healing.  However, he is facing pressure from his “people” to stay with what works. Jane is facing her mother’s relocation to warmer climes and her daughter’s departure for college the following fall. As always, the store’s survival and growth is always present.

Playing as a backdrop for the story is a wonderful sense of village life in modern times. With shades of nostalgia, Moon finds the richness of a Long Island Christmas, from the perfect pastry to snowfall to walks in the brisk night air. The writing is easy and fluid, with characters rooted in personal realities as well the world she has vividly fashioned for them. It all rings romantically true.

A little past the half-way mark, the real crisis is introduced, throwing Jane’s fate into turmoil. It is not the suspense of what will happen but the painting of the community that rises to the surface. The denouement has shades of It’s a Wonderful Life.

Christmas in Angel Harbor gives us something that we need right now: the joy that can come in the Christmas season. Here is a romance with the sights and sounds but above all the heart that we associate with hope in the holidays. Looking for the gift of a little light in the darkness? This book is just the right present.

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A school librarian by day, and an established author by night, Jeannie Moon has written 17 books to date. Christmas in Angel Harbor is available at bookrevue.com, barnesandnoble.com and amazon.com.

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