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Jeffrey Sanzel

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Photo from Sony Pictures Entertainment

By Jeffrey Sanzel

There is no greater American icon than Fred Rogers — the Mr. Rogers of “Mr. Rogers’ Neighborhood.” Generations of children have grown up under the tutelage of the man whose sole quest was to let children be children. His soft-spoken and often simple wisdom has been explored, dissected and parodied for decades. But, ultimately, his pure and honest humanity has shown through.

A Beautiful Day in the Neighborhood is inspired by Tom Junod’s 1998 Esquire article “Can You Say … Hero?” Director Marielle Heller and screenwriters Micah Fizterman-Blue and Noah Harpster have chosen the source as a jumping-off place to create the fictional story of an emotionally lost and damaged journalist whose life is altered by profiling the beloved television host.

The film is in no way a biopic of Rogers. If one is seeking an account of Fred Rogers, then the heartfelt 2018 Won’t You Be My Neighbor? documentary explores Rogers with a wealth of archival clips and interviews. It is as both straightforward and as complicated as the man himself and an indispensable contribution to his legacy.

Photo from Sony Pictures Entertainment

Instead, A Beautiful Day in the Neighborhood draws upon Rogers’ ethos and how it affected and continues to influence the world for good.

Matthew Rhys plays journalist Lloyd Vogel, whose closet full of demons has disconnected him from the world. The story focuses on the dysfunctional relationship with his estranged father (a dimensional Chris Cooper) who walked out on him and his sister when their mother was dying. 

Vogel struggles to communicate with his frustrated wife (the always terrific Susan Kelechi Watson), to face his life as a new father, and to deal with the world in general. At first, he is resistant to the ministrations of Rogers, but gradually, he realizes the power of embracing Rogers’ philosophies. The film is Vogel’s arc, with Rogers a catalyst for change.

Rhys manages the transition from depressed and detached to self-aware and almost reborn with a slow, methodical intensity. It is an unsurprising performance but one in which we can invest. While the resolution is inevitable, his pain is palpable and his growing awareness authentic. 

The surrounding actors are strong and Heller has brought out subtle and absorbing work from the entire company, including Christine Lahti (Ellen, Vogel’s Esquire editor), Enrico Colantoni (Bill Isler, the president of Family Communications), Maryann Plunkett (Joanne Rogers, Fred’s wife), Tammy Blanchard (Lorraine, Vogel’s sister), and Jessica Hecht (Lila Vogel, Vogel’s dying mother). The entire ensemble is fully present, bringing nuance to the action.

However, the heart of the film is Tom Hanks as Fred Rogers. There is no actor more suited to don the sweater than Hanks, and he does not disappoint. Eschewing imitation, Hanks evokes the soul of the man, making sure that his Rogers is not a hagiography. We see joy, pain, introspection and a man who struggles but never ceases to search for peace and understanding in a difficult world.  

And while his screen time does not rival Rhys’, Hanks dominates each moment with an open presence that makes him unique among even the greatest movie actors. Whether engaging with his public, watching a playback of a scene he has just shot or voicing the Neighborhood puppets, he is riveting. A scene that focuses on a moment of silence in a Chinese restaurant is as wondrous as a subway car breaking out into the show’s theme song. It is all reflected in Hanks’ understated yet overwhelming portrayal.  

The takeaway from A Beautiful Day in the Neighborhood is that we must face life’s trials and that we can grow from these challenges. It is a message — and a film — of which Fred Rogers would approve.

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Image from Walt Disney Animation Studios

By Jeffrey Sanzel

In 2013, Disney released Frozen, a computer-animated musical fantasy. Loosely inspired by Hans Christian Andersen’s fairy tale The Snow Queen, it was the story of two sisters, Elsa and Anna, and a journey of deep discovery. Visually stunning, with a powerful message of “true love” not being connected to marrying a prince, the film was an international sensation. 

The voice talents of Idina Menzel as Elsa, the princess with the power, and Kristen Bell as Anna, the sibling on a quest, were perfectly supported by Santino Fontana as the seemingly ideal prince, Jonathan Groff as a self-deprecating ice harvester, and a hilarious Josh Gad as the slightly manic snowman obsessed with summer. The delightful score, by Robert Lopez and Kristen Anderson-Lopez, spawned the anthem “Let It Go.”

Joining the latter-day classics such as The Little Mermaid, Beauty and the Beast and The Lion King, Frozen quickly became an international phenomena, grossing over $1.2 billion. The only surprise is that it took six years for a sequel. Frozen II reunites Menzel, Bell, Groff and Gad, along with a host of additional voice artists.  

Image from Walt Disney Animation Studios

The film opens hopefully with King Agnarr of Arendelle (Alfred Molina) relating the story of the Enchanted Forest to his young daughters, Elsa (voiced by Mattea Conforti) and Anna (an adorable Hadley Gannaway). It sets up the plot of Agnarr’s grandfather, King Runeard (Jeremy Sisto), and a treaty-gone-wrong with the tribe of Northuldra, a clan that posses a deep magic of which the Arendelle are suspicious. 

The film then goes forward to pick up three years after the previous film.  Elsa (Menzel) is queen and keeping her wintry powers in check. Anna (Bell) is a free-spirited princess, now courted by the smitten Kristoff (Groff) who spends most of his screen time attempting to propose, egged on by his reliable reindeer friend, Sven (also voiced by Groff).

What ensues is a complicated mythology involving the elemental spirits of earth, fire, water and air — and a fifth, unnamed element that becomes clear about half-way through. It is a convoluted folklore that is resolved a bit too simply. Ultimately, what is lacking in the plot is true conflict. 

Much of Frozen was driven by the friction and misunderstanding of characters in action — all trying desperately to get what they want — building up to several powerful revelations. They were human and flawed and that made them all the more wonderful. The underlying theme was threaded throughout, and the climax was the wholly satisfying result of overcoming challenges and solving problems. Frozen II substitutes genuine tension and depth for a string of incidents and “adventures” that just don’t build to any surprises.

Image from Walt Disney Animation Studios

The sequel is now without its entertaining moments, and the score (by Lopez and Lopez-Anderson), while not approaching the first’s innovation and delight, is more than serviceable. Gad shines as the chatterbox Olaf, and a highlight is the snowman’s recapping of the entire first movie. It’s a delightful bit of madcap in a film that is sorely lacking moments of humor. Unlike the first that found a wryness even in the darkest moments, Frozen II feel relentlessly serious.  

The additional voice artists are not as well-served as they should be, with some very talented performers given what amounts to glorified cameos: Molina, Sisto, Evan Rachel Wood,  Martha Plimpton and Jason Ritter barely register. It is not so much the length of their screen time but the quality. Sterling K. Brown’s lieutenant shows great promise but  is unfortunately not developed nearly enough.  

There are several pieces that are clearly envisioned toward promotional items. The fire element turns out to be a very cute froglike creature that will no doubt be making its debut in Happy Meals across the country. Rock monsters and water horses are ideal of stickers and folders and whatever else the marketing department can dream up. And what is cuter than a reindeer? Lots of reindeers.

Pictorially, it is breathtaking. The images are beautiful, and there is never a false or inconsistent moment in its landscape. The characters are animated with honesty and project genuine emotion. The fantastic elements are gloriously realized in a true rainbow of variety. But it is this triumph of style over substance that makes the movie fall short on its ability to engage. The film feels not just long but stretched. The scenes meander and then seem to be repeated again 10 minutes later. There is a great deal of padding in the 100+ minutes.

Conceptually, Frozen II probably seemed to be a great idea on paper and, certainly, in its artists’ eyes, it is. One could just wish for a little more fire under the snow.

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'Barnaby Saves Christmas.' Photo by Peter Lanscombe/Theatre Three Inc.

By Heidi Sutton

While Ebenezer Scrooge undergoes a transformation on Theatre Three’s Mainstage in “A Christmas Carol,” Santa’s littlest elf Barnaby experiences a metamorphosis of his own in the theater’s adorable children’s production of “Barnaby Saves Christmas.” The show runs through Dec. 28.

With a clever script by Douglas J. Quattrock and Jeffrey Sanzel with music and lyrics by Quattrock, the holiday production teaches us that Christmas lies within our hearts.

It’s Christmas Eve and the North Pole is a flurry of activity. Barnaby (Eric J. Hughes), the littlest elf in Elf School, is busy making a toy that Santa (Andrew Lenahan) requested — a little stuffed bear with dark blue pants, buckles on his shoes and a bright yellow vest — while desperately trying to fit in. His constant attempts to be helpful fail, as he knocks down presents, bumps into fellow elves Blizzard (Krystal Lawless), Crystal (Nicole Bianco) and Sam (Jason Furnari) and makes a big mess.

When it’s time to deliver the presents to all the good little girls and boys, Barnaby and Blizzard’s fawn, Franklynne (Michelle LaBozzetta), are left behind with Mrs. Claus (Lorrie Maida). “You’ll have to wait to grow a little bit,” explains Sam. Barnaby soon realizes that Santa has left the stuffed bear behind and convinces Franklynne to embark on a journey to find Santa and “save Christmas.”   

On their adventure they crash land on the roof of the house of Sarah (Lorrie Maida) and her nephew Andrew (Andrew Lenahan) and learn all about Hanukkah and the Festival of Lights. They also come across S.B. (spoiled brat) Dombulbury (Steven Uihlein), a Scrooge in his own right who has stuffed up all the chimneys with coal with his partner in crime Irma (Dana Bush), in order to ruin Christmas. Yes, Barnaby will save the day — as evident in the title — but just wait until you see how!

Directed by Sanzel, the cast perfectly executes this beautiful story. The wonderful songs, accompanied on piano by Quattrock, are the heart of the show, with special mention to “Still With a Ribbon on Top” and “Within Our Hearts.”

Costumes by Teresa Matteson and Toni St. John are colorful and festive and the choreography by Nicole Bianco is fresh and fun. Special effects abound, elevated by the futuristic lighting and, spoiler alert, it even snows in the theater!

With the ultimate message to be the very best that you can be, “Barnaby Saves Christmas” is a must see this holiday season.

Souvenir elf and reindeer dolls will be available for purchase during intermission. Stay after the show for a photo keepsake with Santa Claus on stage if you wish — the $5 donation supports the theater’s scholarship fund — and join the rest of the cast in the lobby for a meet and greet.

Theatre Three, 412 Main St., Port Jefferson presents “Barnaby Saves Christmas” through Dec. 28. Children’s Theater continues with “Little Red Riding Hood” from Jan. 18 to Feb. 22 and “Hansel & Gretel” from Feb. 29 to March 21. All seats are $10. To order, call 631-928-9100 or visit www.theatrethree.com.

All photos by Peter Lanscombe/Theatre Three Productions Inc.

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By Heidi Sutton

As the holiday season rolls around, the Village of Port Jefferson is one of the first towns on Long Island to fully embrace its joyful spirit. Z-Pita Café on Main Street is already decked in holiday lights from top to bottom, elves are busy getting Santa’s workshop ready on the corner of Barnum Avenue and West Broadway and preparations are underway to transport the seaport village back to the Victorian era for its 24th annual Charles Dickens Festival on Dec 7 and 8.

The latter was inspired by Theatre Three’s annual production of “A Christmas Carol.” Now in its 36th year, the show continues to delight and touch audiences of all ages, a testament to the brilliance of the theater’s Executive Artistic Director Jeffrey Sanzel and the caliber of its cast. Last Saturday’s opening night performance received a much deserved standing ovation.

Based on the 1843 novella by Charles Dickens, it tells the tale of Ebenezer Scrooge (played by Sanzel), a successful business man who loves money more than anything else and has become bitter, lonely and stingy over the years, especially around the holidays. “I’ve devoted my life to the cultivation of business,” he explains.

We first meet the miserly old curmudgeon on Christmas Eve and witness him turn away the needy and a charity group and lose his temper with his clerk Bob Cratchit (Douglas J. Quattrock) and his always optimistic nephew Fred Halliwell (Steven Uihlein). “Keep Christmas in your own way and I will keep it in mine,” he warns Halliwell before kicking him out.

That evening Scrooge is visited by the ghost of his business partner Jacob Marley (Andrew Lenahan) who offers him one last chance at redemption. Draped in the chains he has forged in life, Marley tells Scrooge he will be visited by three spirits — the ghosts of Christmas past, present and future – in an attempt to save his immortal soul.

The Ghost of Christmas Past (Michelle LaBozzetta) takes Scrooge to Wellington House, the boarding school he attended as a young boy and where he spent many Christmases alone; we meet his adored sister Fan and his apprenticeship at Fezziwig’s, where the audience is introduced to Scrooge’s one and only love, Belle (Nicole Bianco). This is also where he meets Marley for the first time and where his life takes a terrible turn.

The Ghost of Christmas Present (Stephen T. Wangner) takes Scrooge to meet Bob Cratchit’s family and learn about the failing health of Tiny Tim and to a dinner party hosted by his nephew in one of the funniest moments in the show.

Lastly, the most intimidating specter, a 14-foot Ghost of Christmas Yet to Come (operated by Steven Uihlein), shows Scrooge the shadows of what is yet to come, including his own death and how those around him are affected. In the end, Scrooge learns that “life is not about facts and figures. It’s about joy and family and Christmas.”

While the entire cast is excellent, it is Sanzel who commands the stage. One of his finest moments occurs when the Ghost of Christmas Past takes Scrooge to Fezziwig’s holiday party. While at all other times he remains in the shadows as an observer, Sanzel suddenly jumps into the role of a younger Scrooge with boundless energy and dances the night away. The transformation is breathtaking.

As director, Sanzel succeeds in keeping the annual production fresh and exciting while maintaining its familiarity, allowing families to share in a story that touches on empathy, selflessness and charity, while providing lots of laughs, visual amazement and more than a few surprises. This year the lighting and sound effects by Robert W. Henderson Jr. take center stage and elevate the flawless production to the next level, a feast for the eyes and ears.

Arrive early and be treated to a selection of Christmas carols by the actors in the beautifully decorated lobby and stay afterward for a photo keepsake with Scrooge. The $5 fee goes to support the theater’s scholarship fund.

The Cast: Nicole Bianco, Ginger Dalton, Holly D’Accordo, Kailey D’Accordo, Ellie Dunn, Suzie Dunn, Alexa Eichinger, Julie Friedman, Eric J. Hughes, Kyle Imperatore, Audrey Kelly, Sophia Knapp, David Lafler, Edward Langston, Michelle LaBozzetta, Cassandra LaRocco, Andrew Lenahan, Douglas J. Quattrock, Michaela Reis, Leah Romero, Jeffrey Sanzel, Aiden Sharkey, Finn Thomas, Cameron Turner, Amber Walkowiak, Stephen T. Wangner, Steven Uihlein, Addyson Urso and Kiernan Urso.

Theatre Three, 412 Main St., Port Jefferson will present Charles Dickens’ “A Christmas Carol” through Dec. 28. Please note all evening shows begin at 7 p.m. Running time is 2 hours. Tickets are $20 per person through November; $35 adults, $28 seniors and students in December. For more information or to order tickets, call 631-928-9100 or visit www.theatrethree.com.

All photos by Brian Hoerger/ Theatre Three Productions Inc.

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Above, the St. James author with her latest book. Photo by Heidi Sutton
Family through the prism of stained glass

Reviewed by Jeffrey Sanzel

Claire Nicolas White shares her family’s journey in the art of stained glass in her very engaging Five Generations Painting With Light.  

The book opens with a crisply written introduction followed by a succinct and informative history of stained glass. White’s eloquent prose defines her connection in a sharp parallel to the compositions that are to be explored: “Mine is a strange inheritance, transparent, ablaze with light in all colors, breakable, but precious.”

Above, the St. James author with her latest book. Photo by Heidi Sutton

The history details the materials, construction and sites of the pieces as well as the fact that the creation of stained glass today is much the same as it was over a thousand years ago. The nobility as well as the dangers of the trade are also touched upon. The intersection of necessity, art, folklore and fantasy are at its heart. It should be remembered that the windows often served as a method of ecclesiastical communication, telling biblical stories and imparting scriptural themes.

From there, White traces her family history, beginning with her Dutch great-grandfather, artist François Nicolas. His son Charles Nicolas then focused on the business aspects and managing the Nicolas glass studio. White’s father, Joep Nicolas, first rebelled from the family business, but, after studying philosophy and art history, he found that “painting with light remained irresistible.” Joep married Suzanne, an artist with similar if complementary tastes. Joep was highly successful and his work could be seen not just in churches but in assorted businesses and educational institutions, — “square miles of glass.”  

White and her sister, Sylvia, were born in northern Holland but, with the advent of Hitler, Joep moved his family to the United States. It was here that White and Sylvia learned their father’s skill: “I won’t leave you a fortune, but I will have taught you a profession.” Sylvia continued in the work while White found a career as a writer and art critic, publishing everything from poetry to fiction to biography. After leaving the world of graphic design, Sylvia’s son, Diego Semprun Nicolas, took up the family mantle, completing the five generations.  

Throughout, White paints a clear picture of her family, plentiful in detail and event. She manages to evoke their personalities in quick, vivid strokes. The descriptions are colorful and entertaining, revealing the highs and lows, the conflicts and the triumphs.

In addition, White has wonderful insight into the history of art and the artistic temperament. She discusses her father’s seeing his work in musical terms, a strong and vivid metaphor. She quotes her sister’s approach to art as a whole: “Glass is great … but I need to tell tales, religious tales, but also legends, myths. The iconography is inspiring. Life is like a tapestry. You’re influenced by what you’re exposed to and use what you need.”

The book is beautifully enhanced by the many photos of stained glass. It is a delight to see the evolution of the artists through their works and from generation to generation. As Joep stated: “Whoever has been given the spirit, the will, the talent, let him tackle this art form; glass is a willing substance that God had not for nothing allowed us to discover.” Claire Nicolas White has given us an absorbing glimpse into this world of unusual masterpieces.

Claire Nicolas White is an acclaimed American poet, novelist and translator of Dutch literature. She is the granddaughter-in-law of architect Stanford White. Her sister, Sylvia Nicolas, designed and installed all the stained glass in Sts. Philip and James R.C. Church in St. James.

Meet the author at a Master Class at the Ward Melville Heritage Organization’s Educational & Cultural Center, 97P Main St., Stony Brook as she discusses her latest book, ‘Five Generations Painting with Light’ on Oct. 23 from 1 to 2:30 p.m. The event is free and refreshments will be served. Call 631-689-5888 to reserve a spot.

 

 

 

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The Addams Family returns to the big screen in time for Halloween. Image courtesy of Metro Goldwyn Mayer Pictures

By Jeffrey Sanzel

Charles Addams’ delightfully macabre cartoons of the bizarre Addams band first appeared in The New Yorker in 1938. In the subsequent 50 years, this satirical inversion of the nuclear family was featured in dozens of single-panel drawings. In 1964, the live-action series premiered on ABC and was welcomed into American households for two seasons. This was followed by two animated series as well as several reunion specials. 

The franchise was successfully rebooted in 1991 with The Addams Family and the even better sequel Addams Family Values (1993). In 2008, the family got the full Broadway treatment with a musical that has lived on in regional and high school theaters across the country. The first family of Halloween has been seen in everything from board games to drink coasters.  

Nearly 10 years ago, there was news of a Tim Burton stop-motion Addams family to be produced by Universal Pictures and Illumination Entertainment. However, in 2013, MGM acquired the rights and it is this version that has now been produced as a 3-D animated comedy. Conrad Vernon directs a predictable screenplay by Matt Lieberman and Pamela Pettler.  

It is a shame that Burton was not able to realize his vision. Given his work — particularly The Nightmare Before Christmas — the result would most likely have been more satisfying.

The plot focuses on the threat of the family being pushed out of its haunted mansion by a devious T.V. home renovation host, Margaux Needler, who is building a model community, Assimilation. In addition, son Pugsley will be having his Mazurka celebration (think bar mitzvah with swords) and the entire clan is expected to descend upon the family. Daughter Wednesday becomes curious about the outside world and befriends Needler’s daughter, whom she leads into rebellion.  

While these elements could add up to a terrific satire, it never quite transcends its literalness. There is a pedestrian feel to the constantly repeated theme of all-people-just-want-to-be-accepted-for-who-they-are. Visually, it looks closer to the Saturday morning cartoons, and some of the more famous lines are wedged into the dialogue. In the end, there is something flat and uninspired in the result: The film is less Addams family than it is Hotel Transylvania. One has the sense that the creators were hedging their bets and played it safe with a child-centric film, leaving little for the adult audience. While there are nods to the Addams canon, it never feels like it enters that weird, wonderful world.  

There is a wealth of voice talent, with some utilized better than others. Charlize Theron captures Morticia Addams’ low notes with a fittingly languid affectation. Oscar Issac is a nice compliment as the excitable Gomez. The children are well-realized by an appropriately affectless Chloë Grace Moretz as Wednesday and Finn Wolfhard as the pugnacious Pugsley. Nick Kroll makes an amusing if one-note Uncle Fester. Sadly, Bette Midler is not given enough to do as Grandmama. Other voices include Snoop Dogg (Cousin Itt), Martin Short (Grandpa Frump), Catherine O’Hara (Grandma Frump), Tituss Burgess (Margaux’s agent) and Jenifer Lewis (Great Auntie Sloom). Allison Janney makes the most of the villainous Margaux Needler but there’s almost no opportunity for variety.

The highlight of the film comes at the end, when the television show’s opening sequence is recreated, Vic Mizzy theme song and all.

In its own way, the movie is child-friendly creepy and methodically kooky but with little mystery and certainly not spooky. Ultimately, what’s lacking is what makes the Addams family unique: One is left asking, “Where’s the ooky?”

Rated PG, The Addams Family is now playing in local theaters.

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Joaquin Phoenix stars as the Joker. Photo courtesy of Warner Bros.

By Jeffrey Sanzel

Batman’s most infamous nemesis, the Joker, first appeared in the Batman comic book in 1940. Created by Bob Kane, Bill Finger and Jerry Robinson, the psychopathic clown with a sadistic streak has endured for eight decades, being reinvented time and again.  

The Joker was first embodied on the small screen in the 1960s with Cesar Romero’s over-the-top but highly enjoyable take in the camp television series (and subsequent film) Batman. First-billed Jack Nicholson played the criminal with gangster shades in the more serious 1989 Batman film. Heath Ledger received a posthumous Oscar for his twitchy, psychotic anarchist that traded on the character’s insanity and ambiguity in The Dark Knight (2008). Jared Leto took a fairly modern approach with a tattooed and outlandish hoodlum in Suicide Squad (2016).

As for the Joker’s origin, it has been recreated throughout his existence, with no true commitment to who he is and how he came to be. Part of his mystique is this swirling mystery. The Joker is the ultimate unreliable narrator: “Sometimes I remember it one way, sometimes another … if I’m going to have a past, I prefer it to be multiple choice!” (The Killing Joke, 1988).

Which brings us to Joker, the new film from director Todd Phillips, who has co-written the screenplay with Scott Silver. This is not just a rethinking of the character and his world; this is another world entirely, and a brutally real one.  

The Gotham City of Joker is a bleak vision of 1980 New York City, a crime- and rat-infested hell; it is a world mired in corruption where the haves actively keep down the have-nots. There are strong political statements that touch on gun control, living conditions of the disenfranchised and the treatment of mental health. (It should be noted that there has been a great deal of controversy surrounding the film and its violence.)  

Phillips presents a back-storied Arthur Fleck (Joaquin Phoenix), a clown whose work is limited to sign-tossing in front of stores and entertaining in children’s hospital wards. He suffers from a neurological disorder that causes him to laugh at inappropriate times. The marginalized Fleck cares for his mother (Frances Conroy, harboring family secrets) in a rundown apartment. Fleck’s great goal is to become a stand-up comic and an unsuccessful attempt contributes to his downward spiral.  

Rather than the tale of a larger-than-life villain — the insane master criminal and homicidal clown — Joker is about society’s rejection of those who need the support the most. The film opens with him being beaten by a group of teenage thugs. Later, Fleck learns that the social services he relies on for his seven medications have been cut. It is this continuous “bad day” scenario that plagues him.  

The already delicate Fleck is driven to his choices by external circumstances. His murder of three Wall Street brokers who are abusing him on the subway becomes freeing. His actions make him a hero to a city that takes up the cry of “Kill the Rich.” Mobs of clown-masked protesters turn the metropolis into a literal hell.

If one separates the history of the character, it is easier to embrace Joaquin Phoenix’s performance. It is a monument of introspection, of ticks, of pain. His Fleck is a man on the brink and then beyond. The camera rarely leaves him for the two-hour running time. Phoenix is the film.

If anything, the character is based less on the Joker and hearkens more to Travis Bickle, the anti-hero of Taxi Driver (1976), with shades of Rupert Pupkin in The King of Comedy (1982). This is no surprise as the common denominator is Robert DeNiro, the creator of Bickle in the former and the down-on-his luck comedian Pupkin in the latter. In Joker, DeNiro comfortably assays a callous late-night host who brings Fleck onto his show, after using a clip of Fleck’s disastrous stand-up. So much of this adds up to Joker as a homage to these films and those performances.

Special note should be made of Lawrence Sher’s cinematography. Its evocative harshness contributes to the uncompromising tension. The final moments resonate long after the film is over, a true portrait of senseless, bloody violence. 

Joker certainly feels the least like a comic adaptation of any film, and, as an addition to that cinematic universe, it is a strange one. However, it is apparent that this was a choice by the creators. They have opted for a realm that is a gritty, recognizable world, where the day-to-day angers cause horrors that enflame chaos and mayhem. Ultimately, if one separates the film from its source, Joker is a dark, unique and current reflection of our own times.

Rated R, Joker is now playing in local theaters.

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Michelle LaBozzetta, Eric J. Hughes and Steven Uihlein in a scene from the show in 2019. Photo from Theatre Three
The cast of 'A Spooky Kooky Halloween'
Steven Uihlein and Michelle LaBozzetta in a scene from the show
Stuck together 'like birds of a feather'
Stuck together 'like birds of a feather'
Getting reading for Halloween
Yum ... toast!
The speed spell
The cast of 'A Spooky Kooky Halloween'

By Heidi Sutton

As one of the country’s most beloved holidays draws near, Theatre Three gets into the act with Halloween treats of its own. While the theater thrills and chills on the Mainstage with “Jekyll & Hyde,” its Children’s Theatre offers “A Kooky Spooky Halloween,” the adorable tale of a ghost who is afraid of the dark. Written by Jeffrey Sanzel and Steve McCoy, the musical, which runs through Oct. 26, is the perfect way to kick off the spookiest of seasons.

A friendly ghost named Abner Perkins (played by Steven Uihlein) has just graduated from Haunting High School. With a diploma and a medallion of invisibility in hand, his first assignment is to become the spooksperson for Ma Aberdeen’s Boarding House, famously known the world over for being the most haunted house in Harrison County U.S.A. and for serving the best toast. There are only two rules he has to follow — he can only haunt at night and he can’t lose the medallion or he’ll be seen by the living.

Abner confides to his best friend Lavinda the witch (Michelle LaBozzetta) that he has an uncontrollable fear of the dark and, after a bit of teasing (“That’s like a vampire who’s afraid of necks!”), she gifts him a night-light and promises to assist him with his haunting duties for the first few weeks. When they arrive at the boarding house, they find Ma Aberdeen (Ginger Dalton), the finest toast maker in the land, and her guests in the kitchen stuffing treat bags for Halloween.

We meet Kit Garret (Nicole Bianco) who “just came from a small town to a big city with a suitcase in my hand and hope in my heart” and can’t wait to try Ma Aberdeen’s famous toast. We also meet the Petersons — Paul the periodontist (Andrew Lenahan), his wife Penelope (Krystal Lawless) and their son Pip (Eric J. Hughes) — who have the most curious habit of using words that start with the letter P in every sentence.

When Pip puts on a pumpkin pullover and proceeds to tell pumpkin jokes (see what I did there?), Abner casts a speed spell on the group, making them spin like a top, do jumping jacks and walk like a duck in double time, and then, straight out of a scene from “The Golden Goose,” has them stick to each other “like birds of a feather.”

Just as he is about to undo the spell, fellow graduate and ghost with a grudge Dora Pike (Beth Ladd) shows up and steals Abner’s night-light and medallion of invisibility and hides them in Black Ridge Gulch, the deepest, darkest gorge in the entire world. Now visible, Abner has to convince the boarders, who are still stuck to each other in “an unprecedented predicament,” to help him and Lavinda get his property back. What follows is a hilarious adventure that highlights the power of honesty, determination and friendship.

Directed by Jeffrey Sanzel, the eight-member adult cast embraces the brilliant script and presents a hauntingly fun afternoon both children and parents will love. Accompanied on piano by Douglas Quattrock with choreography by Nicole Bianco, the song and dance numbers are fun and catchy with special mention to the rap “A Need for Speed” by Abner and Lavinda and the group number, “It’s Ma Who Makes the Toast.” Costumes by Teresa Matteson and Toni St. John are spot on, from the Peterson’s black and orange outfits to the spooky white garbs for the ghosts. And wait until you see the special effects!

Souvenir cat, pumpkin, vampire and ghost dolls will be available for purchase before the show and during intermission for $5. Meet the cast in the lobby for photos on your way out.

Theatre Three, 412 Main St., Port Jefferson will present “A Kooky Spooky Halloween” on Oct. 12, 19 and 26 at 11 a.m. and Oct. 20 at 3 p.m. Running time is 1 hour and 15 minutes with one intermission, and Halloween costumes are encouraged. Children’s theater continues with “Barnaby Saves Christmas,” from Nov. 23 to Dec. 28. All seats are $10. To order, call 631-928-9100 or visit www.theatrethree.com.

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Jim Carter returns as the Crawley’s retired butler. Photo by Jaap Buitendijk, Focus Features

Reviewed by Jeffrey Sanzel

Downton Abbey was a television phenomenon. This upstairs-downstairs drama captured the attention and the hearts of millions of viewers. In its 52 episodes (2010 to 2015), it followed the aristocratic Crawley family, the heirs of Grantham. From opulent drawing rooms to the sparse maids’ quarters, we came to know the estate and its inhabitants. The series opened with the 1912 sinking of the Titanic and spanned through World War I and its aftermath, closing New Year’s Eve, 1925.

A scene from ‘Downton Abbey’

We watched everything from births to deaths; we witnessed engagements broken and fulfilled. Investments were made and newspapers ironed. Throughout, the Crawleys and their staff grew in depth and understanding, reflecting a changing world. Downton Abbey was television at its very best.

And now, we are treated to a feature film. It is 1927 and the Crawleys are preparing for the impending visit of King George V (Simon Jones) and Queen Mary (Geraldine James).

Creator and screenwriter Julian Fellowes has wisely chosen to celebrate the series rather than reinvent it. There is the usual intrigue, romance and drama, but it never tips the scales into some of the episodes’ darker corners. Instead, we see the house and village preparing for this momentous event. Threading through much of the film is the friction between the snobbish royal entourage who are sent ahead and the Downton staff. The result tips slightly toward sitcom but is forgivable in the overall jubilant spirit of the movie.

The majority of the residents are here. At the center is Hugh Bonneville’s charming Earl of Grantham and his American wife, Cora, played with great warmth by Elizabeth McGovern. Michelle Dockery, as Lady Mary, and Laura Carmichael, as Lady Edith (now Marchioness of Hexham), are true to their sibling bickering but there is an underlying respect – or at least acceptance – that grew throughout the series’ run. At Lady Mary’s request, retired butler Carson (the up-tightly lovable Jim Carter) is engaged to temporarily take over from an off-put Barrow (Robert James-Collier), who always manages to balance good and bad intentions. If Brendan Coyle’s Mr. Bates is less brooding, it is nice to see his happy marriage with lady’s maid Anna (lovely Joanne Froggatt). Perhaps this best describes the film: It rarely frets but embraces an inner brightness.

A scene from ‘Downtown Abbey

The entire cast is as wonderful as ever. Allen Leech’s Tom Branson maintains his moral compass and is given a good bit to do in the film, highlighting his transition from Irish rebel to staunch family supporter. Phyllis Logan’s housekeeper Mrs. Hughes still functions as the below-stairs mother hen. Her camaraderie with the put-upon cook, Mrs. Patmore (Lesley Nicol), remains strong.

But, it is Maggie Smith as the wry-witted, never-wrong Violet Crawley, dowager countess of Grantham, who steals every moment she is on screen with her golden quips and sly asides. Smith’s perfect sparring with the reliable Penelope Wilton’s Isobel (now Lady Merton) make for some of the most delightful moments. Smith shows a beautiful contrast in a deeply moving scene with Lady Mary toward the end of the story.

There is the introduction of a Crawley cousin hereto not mentioned. Imelda Staunton is Lady Maud Bagshaw, and the issue of who shall inherit her fortune becomes a subplot.  There is also a romantic element connected to this legacy which will probably come to play in the much hoped-for sequel.

Yes, there some notably absent characters:  Cousin Lady Rose (Lily James) and Lord Grantham’s sister, Lady Rosamond (Samantha Bond), with the former not even mentioned. Sadly missing is David Robb’s stalwart Clarkson, the family doctor who bridged the world of castle and village.

It is an opulent film and the production values are dazzling. Never have the locations and the clothing looked so rich nor has the music been this lush. It is both a Christmas present and a Valentine.

Downton Abbey is a gift for the followers of the series. For newcomers, it would be a costume drama without the drama. For fans, it is a joyous and welcomed “Welcome home.”

Photos by Jaap Buitendijk, Focus Features

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Alan Stentiford stars as Dr. Henry Jeykll.
Alan Stentiford as Hyde
Alan Stentiford and TracyLynn Conner
A scene from 'Jekyll & Hyde"
Alan Stentiford and Tamralynn Dorsa
A scene from 'Jekyll & Hyde"
The cast of 'Jeykll & Hyde'
Alan Stentiford as Hyde

By Heidi Sutton

A tale of redemption, an epic battle of good and evil, teen romance, the bonds of friendship — these topics and more will be explored as Theatre Three celebrates 50 years of “Broadway on Main Street” with a revival of the six most popular shows in the theater’s history.

The season opens with a thrilling and chilling adaption of “Jekyll & Hyde: The Musical” by Paul Hadobas with book and lyrics by Leslie Bricusse and music by Frank Wildhorn featuring additional songs like “I Need to Know” and additional material which were cut from the original Broadway show.

Jeffrey Sanzel, who directed the theater’s 2005 production, returns to the helm to create a beautifully haunting show that is not to be missed.

Based on Robert Louis Stevenson’s 1886 gothic novella, “The Strange Case of Dr. Jekyll and Mr. Hyde,” the classic story follows Dr. Henry Jekyll’s ill-fated quest to find a cure for his father’s mental illness. Years of experiments have produced a chemical formula that Jekyll is convinced can “separate the good and evil” from the human soul … “to help the tortured mind of man.” All he needs is a human test subject.

When his request to inject the formula into a patient at a mental hospital is turned down by the Board of Governors, a decision they will later regret, Jekyll feels he has no choice but to experiment on himself. The noble attempt to help those that cannot help themselves backfires and gives life to an evil alter ego, Edward Hyde, who terrorizes the citizens of London after dark.

From the moment Hyde makes an appearance, he seeks revenge for Jekyll and methodically hunts down the members of the Board of Governors and with a crack of the neck or a stab in the side they fall one by one. Jekyll remembers little of the murders, praying “they are merely nightmares,” but eventually Hyde “comes out of the shadows” and becomes an addiction, causing Jekyll to lose self-control in an emotional climactic ending.

In his Theatre Three debut, Alan Stentiford is simply incredible in the dual role of Dr. Jekyll and Mr. Hyde. The actor’s transition from respected doctor to psychotic madman will make the tiny hairs on the back of your neck stand up. After each injection, the actor morphs into a rabid creature who slinks and lurks about in the dark, peering out through his unkempt hair with wild eyes. And wait until you hear him sing! Stentiford’s split-personality faceoff in “Confrontation” is mesmorizing and his opening night performance of “This Is the Moment” brought the house down.

Tamralynn Dorsa plays Jekyll’s loving and always supportive fiancée Emma Carew. Dorsa shines in this angelic role and her rendition of “Once Upon a Dream” is magical.

TracyLynn Conner is equally impressive as prostitute Lucy Harris who Jekyll befriends during a visit to the seedy drinking establishment, The Red Rat. It is her that Hyde visits the most often until his jealousy consumes him. Her emotional performance of “No One Knows You I Am” is wonderful.

Another standout in the show is Steven Uihlein in the role of Simon Stride, a former boyfriend of Carew, who has made it his personal mission to see Jekyll fail at every turn. Andrew Lenahan is also one to watch. As John Utterson, Jekyll’s friend and attorney, Lenahan gives a brilliant performance in “His Work and Nothing More.”

The beautiful costumes and wigs by Chakira Doherty meld perfectly with the evocative choreography by Nicole Bianco and the Victorian set, designed by Randall Parsons features Dr. Jekyll’s laboratory. Kudos also to musical director Jeffrey Hoffman, whose seven-piece orchestra keeps perfect pace and tune.

Jeffrey Sanzel has assembled an incredible cast and crew to kick off the theater’s golden anniversary and they all deserve a big round of applause. Happy anniversary Theatre Three! It’s time to relish the well-deserved spotlight.

The cast of ‘Jekyll & Hyde’: Melanie Acampora, Bryan Bowie, TracyLynn Conner, Dennis Creighton, Anthony D’Amore, Lindsay DeFranco, Tamralynn Dorsa, Emily Gates, Eric J. Hughes, Heather Kuhn, Michelle LaBozzetta, Krystal Lawless, Andrew Lenahan, George Liberman, Linda May, Stephanie Moreau, Douglas Quattrock, Jim Sluder, Alan Stentiford, James Taffurelli, Briana Ude, Steven Uihlein, and Ryan Worrell

Theatre Three, 412 Main St., Port Jefferson presents “Jeykll & Hyde: The Musical” through Oct. 26. Contains adult themes and situations. The 2019-20 Mainstage season continues with Charles Dickens’ “A Christmas Carol” from Nov. 16 to Dec. 28, “Driving Miss Daisy” from Jan. 11 to Feb. 1, “Joseph and the Amazing Technicolor Dreamcoat” from Feb. 15 to March 21, “Steel Magnolias” from April 4 to May 2 and “Grease” from May 16 to June 21. Tickets are $35 adults, $28 seniors and students, $20 children ages 5 to 12. For more information or to order, call 631-928-9100 or visit www.theatrethree.com.

 

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