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Jeffrey Sanzel

LEAVE US IN PEACE — WE JUST WANT TO DO PLAYS! TracyLynn Conner, Dondi Rollins and Morgan Howell Rumble in a scene from ‘Dark’

By Heidi Sutton

When a One-Act Play Festival receives 415 submissions, it cannot be easy to choose just a handful. But that’s exactly what Theatre Three’s Festival of One-Act Plays founder and Executive Artistic Director Jeffrey Sanzel was tasked with doing this year and the result is extraordinary. Showcasing seven original works, the annual festival opened last weekend for a 10-performance run.

“For the first time on any stage, these works come to life,” explained Sanzel, who also serves as director. “These are premieres; they are ‘firsts.’ A comedy [is] followed by a drama, a farce by an experimental work …” in a two-hour marathon in the cozy setting of The Ronald F. Peierls Theatre on the Second Stage, a space so intimate that it “allows the audience to breathe the same air as these … characters. There is no wall. There is no division.”

Steve McCoy and Dylan Robert Poulos in a scene from ‘At the Circus’

The show kicks off with Chip Bolcik’s “At the Circus,” starring veteran actor Steve McCoy and festival newcomer Dylan Robert Poulos. In an ironic twist, a trapeze artist (McCoy) and a clown (Poulos) have grown tired of life in the circus and dream of a life of normalcy, of running away with the audience. They long to have a house with a window to look out of, a driveway, the opportunity to drive to the grocery store. “They have no idea how lucky they are, do they?” wonders Poulos as he looks longingly into the crowd, giving nod to the old adage “The grass is always greener on the other side of the fence.”

Next up is “Interview with the First Family” by Tom Slot, a behind-the-scenes reality TV look at what really happened in the Garden of Eden and where they are now. Adam (Antoine Jones) is a surfer, Eve (Susan Emory) works at a bakery — “People can’t get enough of my apple pie,” Cain (Morgan Howell Rumble) is a convict doing time for killing his brother Abel and God (Linda May) is just sitting back seeing how the world spins and working on her stand up act. Her biggest regret? Creating the mosquito. 

“Plumb Desire,” written by Patrick Gabridge, is a hilarious take on how hard it is to find a good handyman these days and the relationships that develop. Darius (played by Steve Wangner) has found such a man in Jackson (Dondi Rollins), a plumber who has been renovating his bathroom. Jackson hasn’t shown up lately so Darius tracks him down and tries to woo him back with flowers and a six pack of beer. “I’ve been searching for a plumber for so long and you are the one,” he whines, adding, “Do you remember when we   replaced all the vents on the radiators?” Jackson finally breaks down and admits that “sometimes plumbers can be flaky — it comes with the territory.” Will he be back on Monday to finish the job?

TracyLynn Conner and Meg Bush in a scene from ‘Class”

Comedy switches to drama with Andrea Fleck Clardy’s “After Class.” Madison (Meg Bush in a powerful performance) is a mentally disturbed student who speaks of bringing a gun she’s nicknamed “Kim” to class as her teacher Amy Clausen (TracyLynn Connor) struggles with handling the scary situation.  

After intermission, “Bird Feed” by Melanie Acampora takes center stage. Three pigeons sit on a ledge in Manhattan chatting. It’s Georgie’s (Susan Emory) birthday — she’s two years old today. Her friends Bertha (Meg Bush) and Rayna (Nicole Bianco) want to take her out to celebrate when Bertha overhears someone saying that the average life span of a pigeon is just two and half years, leading to a contemplation on birthdays and mortality.  

There’s a mole loose in the world of acting in Jack McCleland’s “Dark.” It’s open hunting season and actors are being picked off one by one. Every time they find a hiding spot, they are mysteriously found and shot to death. Three actors — Steve (Morgan Howell Rumble), Meg (TracyLynn Conner) and understudy Carl (Dondi Rollins) are holed up in a warehouse and are being ordered to come out. “Leave us in peace! We’re actors — we just want to do plays!” they plead. One last warm up and they venture outside and the snitch is finally revealed as Ethel Merman’s rendition of “No Business Like Show Business” plays jubilantly in the background.

Meg Bush, Nicole Bianco and Susan Emory in a scene from ‘Bird Feed’

Sanzel saves the best for last with Charles West’s courtroom spoof, “Home Versus the Holidays.” A man is on trial for waving a sword at a church group singing Christmas carols in front of his home. The audience is sworn in as the jury and the judge (Linda May) calls the first witness to the stand, the chaperone to the group (Steve Wangner).

After the district attorney (Nicole Bianco) asks him some questions, the defense lawyer (Antoine Jones) is allowed to cross-examine and hilarity ensues. Using visuals, song lyrics and the alleged weapon, Jones turns the Christmas spirit on its head in a stunning performance that must be seen to be believed. You’ll be in stitches long after the show ends.

With an excellent lineup and incredible cast, this festival is not to be missed. Get your ticket before they’re sold out.

The cast: Nicole Bianco, Meg Bush, TracyLynn Conner, Susan Emory, Antoine Jones, Linda May, Steve McCoy, Dylan Robert Poulos, Dondi Rollins, Morgan Howell Rumble, Steve Wangner

Sponsored by Lippencott Financial Group, Theatre Three, 412 Main St., Port Jefferson will present The 21st Annual Festival of One-Act Plays through May 6. Contains adult language and subject matter. Parental discretion is advised. Running time is two hours with one 15-minute intermission. Tickets are $20. To order, call the box office at 631-928-9100 or visit www.theatrethree.com.

All photos by Peter Lanscombe, Theatre Three Productions Inc.

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Reviewed by Jeffrey Sanzel

Michael Di Leo’s debut novella is a powerful and engaging look at the days leading up to and just following the murder of John Lennon. Focusing on the separate and yet not completely disparate stories of several unrelated people, it creates a vivid chronicle of a time of great sadness and unrest.

Author Michael Di Leo

It is December 1980 and the country is in the advent days before Ronald Reagan is to take office. Three very different people are facing the frustrations of day-to-day life. The story follows this trio as they attempt to tackle a series of emotionally difficult challenges.

Sixteen-year-old Angela is obsessed with the Beatles. She is struggling with the things that are modern and yearns for the ’60s, a time she never experienced but has come to venerate, epitomized by the music of the Beatles. Her friends do not understand her — in particular an insensitive but realistically portrayed boyfriend who has only one desire in their dysfunctional relationship. Angela is reaching back to a past era to try to make sense of her own.

Thirteen-year-old John is inspired to look at the ’60s by former hippie Mr. Watkins, his easygoing and inspiring teacher, who assigns John an extra-credit project to research the period.John is caught between his hard-edged, conservative father and a mother whose heart is connected to the freer time that she never allowed herself to fully experience.

Finally, Tommy, in his 20s, going nowhere, lives in a cramped Manhattan apartment, working a dead-end job selling typewriters, and trying to parse his exact feelings for his girlfriend, Mary, who is pressuring him for both a ring and a change in who he is. Like Angela, he is fixated on the Beatles. Tommy is also haunted by the death of his brother in Vietnam, a milestone that caused the implosion of his family and created his own sense of detachment from the world.  

Tommy makes a point of his dis-ease in the universe. He feels that the ’80s have not yet started because there has been no defining moment to herald an age. He sites the assassination of JFK and the landing of the Beatles for the ’60s and Nixon’s resignation for the ’70s. He does not realize that his worst nightmare will be the signal of this new epoch.

Short, crisp chapters create small fragments that are windows into each of the character’s lives and thoughts. As it progresses, the picture, like a mosaic, becomes clearer.

The first half of this delicate, slender novella follows their day-to-day existences that are then shattered by John Lennon’s tragic murder. The latter part of the book then tracks the repercussions of this terrible event. Both Tommy and Angela are broken by Lennon’s death as is John’s mother. But it is through this loss that they find themselves and, in the grand scheme, are stronger for it.

It is the teacher, Mr. Watkins, who is able to best express this new time: “There were a lot of people in the sixties who influenced my generation. JFK, his brother Robert, Martin Luther King. And yet, John Lennon may have had more of an influence than any of them. And he survived it all and was in a position to possibly influence us again to make things better. Something he always tried to do. And they killed him, too. They’re all gone now.” It is the indicator of both an end and a beginning.

The cover of Michael Di Leo’s latest book

Tommy had lived in hope of a Beatles reunion. For him, “It wasn’t supposed to end this way.” The Sgt. Pepper album had gotten him through the loss of his brother, giving him solace in the worst of times. It is now, through the music and the memory, that he survives this next challenge. A particularly poignant description follows Tommy’s visit to his childhood home. He sees his parents, who have never recovered from the death of their oldest son, in a new light. The scene resonates on many levels. It is in this trip that Tommy realizes that he can make something of himself, and it is John Lennon’s example that inspires him to do so.

John’s mother opens up to her son with pieces of her life and heart that she had kept tamped down to please her husband and his expectations. Lennon’s death releases her true spirit. “You know, I always had a secret thing for the Beatles, and John, he was always my favorite. He was so smart and funny, and he always did or said what he wanted, whatever the consequences, and now after everything, he was back, and he was happy, and now he’s gone. It just doesn’t make any sense. I guess maybe I really was a hippie at heart.” She, like Tommy, eventually finds release in embracing her true feelings.

Di Leo’s compassion for his characters gracefully shows the initial shock turning to profound mourning and, ultimately, to redemption. It is a visceral portrayal. He manages, with great sensitivity, to give us a glimpse into the turmoil of these people’s souls. In addition, Di Leo is not seeking easy answers. Instead, he presents the phenomenon of our attachment to these icons. He sheds light on our personal connection to distant stars (literally and figuratively) and how we take their deaths in a personal way. It is a strange truth but we often suffer these losses deeper than we do of those who are truly close to us. He reveals this fact without judgment but instead with nonjudgmental insight.

A prescient touching upon the discussion of gun control that occurred in the wake of the shooting reminds us that though time has passed, many things have not changed.

A gathering in Central Park of thousands of fans serves as a gentle climax to the book where the characters intersect but don’t truly interact. Di Leo chooses not to give us facile coincidence but instead reflects life as it is. A beautiful and honest coda provides both closure and hope — that out of even the darkest times can come good, and, in this case, light.

Much like the “Imagine” mosaic created in memory of Lennon, “Images of Broken Light” gives us broken figures that create a powerful and memorable whole.

“Images of Broken Light” is available in paperback and Kindle versions on Amazon.com, and E-books are also available on Barnesandnoble.com, iBooks and Kobo. This is the Nesconset resident’s second book. The first, titled “The Spy Who Thrilled Us,” covers the first 19 films in the James Bond series. For more information, visit his website at www.michaeldileoauthor.com.

Reviewed by Jeffrey Sanzel

Cynthia Baxter, one of our most prolific and delightful cozy mystery writers, has outdone herself with her most recent offering, a delicious confection titled “Murder with a Cherry On Top.”

Cynthia Baxter

As a longtime fan of Baxter’s work, I have read many of her books, most notably ones in the Reigning Cats & Dogs series (“Dead Canaries Don’t Sing,” “Hare Today, Dead Tomorrow,” “Who’s Kitten Who?” and “Murder Had a Little Lamb”), Murder Packs a Suitcase series (“Murder Packs a Suitcase”), as well as “Temptation,” a fascinating and wicked stand-alone novel (written as Cynthia Blair). They are all truly entertaining works, with fun and engaging heroines who are smart, independent and wholly original.

In her latest outing, “Murder with a Cherry On Top,” the Three Village resident sets us down in the fictional Wolfert’s Roost, a small town nestled in the Hudson Valley. Here, the central character, 33-year-old Kate McCay, has come back to her hometown. Prior to this, Kate had been a public relations director at a large New York City firm. Returning to take care of her beloved grandmother, she has embarked on a new venture, namely being proprietress of the Lickety Splits Ice Cream Shoppe:

“After all, there are some things only ice cream can fix.”

Her love for the dessert is rooted in her childhood. She has memories of her father taking her for her third and fourth birthdays for ice cream. By her fifth, he had passed away. When she is 10, her mother dies, leaving Kate and her sisters to live with their loving grandmother:

“Then Mom passed away the summer I turned ten. Grams suddenly found herself playing the role of mother. She knew how devastated my sisters and I were, and to help us all cope with our confusion, our anger, and our intense feelings of loneliness, she did her best to keep our lives as much the same as they had been before. A big part of that was to keep our family ice cream addiction going, since it was one of the easiest and most obvious ways of linking us to the past and moving ahead with our lives.”

In Kate’s world, ice cream is deeply connected to love and caring and she brings this to her new found vocation. She delights in the work, creating the traditional flavors along with signature choices such as Peanut on the Playground (laced with jelly), Honey Lavender and Avocado and Carrot Cake. (The detours describing her frozen sweets add to the fun.)

After being open only a week, her childhood nemesis and unreformed mean girl, bakery owner Ashley Winthrop, announces that her store, Sweet Things, will begin carrying ice cream. As the bakery is directly across from the ice cream parlor, this drives Kate into a public confrontation with Ashley. Soon after, Ashley is discovered murdered and the police see Kate as a possible suspect.

Kate embarks on her own investigation, which has some wonderful twists and turns, building up to a genuinely surprising but nonetheless believable climax. At its height, the mystery becomes something deeper and eventually much more complex.

An element of the book that is particularly effective is that Kate actually uses her business to solve the crime. Unlike in many mysteries where the characters seem to have insights they couldn’t possibly have, here there is logic to her approach. She utilizes her occupation to provide her with insight as well as opportunity. She cleverly uses the collective love of ice cream as a means to certain ends. And, even as she is pursuing leads, she still is thinking about the growth of her new undertaking.

In a light-hearted way, Baxter addresses the issue of not just the difficulty in returning home but also the joys — rare in literature, which tends to fixate on dysfunction. Kate is genuinely glad to be back and wholly embraces the chapter ahead of her. She finds satisfaction in her work, a passion and a drive that help her reacclimate to Wolfert’s Roost.

The fact is Baxter is a strong writer. Throughout, she is able to articulate the modern struggle to communicate with wit and honesty:

“I wondered how any of us managed to not look bored or lonely or even uncomfortable in public places before we all had cell phones. Maybe that was why books had been invented.”

Baxter nimbly fleshes out characters who are (or at least initially seem to be) transitory. They are whole people, often created in a few crisp sentences. This is ideal in a mystery where there is the need for a parade of suspects and supporting characters.

We get to know Willow, her childhood friend, who works for her when she’s not teaching yoga. Emma, Kate’s in-search-of-herself 18-year-old niece, comes to live with her and assists in the investigation. Ashley’s sleazy ex-husband and her most recent amour, an egotistical chef, both get creative page time. Kate’s love interest, blue-eyed broad-shouldered Jake Pratt, has a past with Kate that becomes pivotal in the present — but the thorny history never bogs down the movement of the narrative. A visit to a harried mother of three is particularly vivid.

Baxter finds variety even in the rather reviled murder victim as certain pieces of her backstory are revealed, transitioning from the “she-had-it-coming” to something far more complicated. The fact that Ashley is running an illegal co-op becomes a fascinating detail in the tapestry of the crime.

All of these pieces, like the exotic sundaes Kate fashions, are rich in texture, color and invention and make for a wholly satisfying read.

Two nice little bonuses: Each chapter is headed with a “fun fact” from the history of ice cream, with sources ranging from Guinness to the International Dairy Foods Association. The appendix shares a few interesting recipes that are referenced in the book.

This first entry into The Lickety Splits Ice Cream Shoppe Mystery series is a great one. Grab yourself a bowl of ice cream, sit down and dig in.

Cynthia Baxter is the author of 54 novels. A Three Village resident for the past 25 years, “Murder with a Cherry On Top” is the first book in her new Lickety Splits Ice Cream Shoppe Mystery series with Kensington Publishing Corp. and is available online at Barnes & Noble and Amazon. Meet Cynthia at the Emma S. Clark Library’s Author Event on May 6 from 1:30 to 3:30 p.m. and visit her website at www.cynthiabaxter.com.

From left, Jessica Contino, Meg Bush, K.D. Guadagno and Nicole Bianco in a scene from 'The Adventures of Peter Rabbit.' Photo by Peter Lanscombe, Theatre Three Productions Inc.

By Heidi Sutton

In tandem with the release of the new animated film, “Peter Rabbit,” Theatre Three presents its annual live children’s theater production of “The Adventures of Peter Rabbit” now through April 14. The action-packed show is the perfect way for families to enjoy spring break.

From left, Dylan Robert Poulos and Steve Uihlein. Photo by Peter Lanscombe, Theatre Three Productions Inc.

The original musical, written by Jeffrey Sanzel and the late Brent Erlanson, is loosely based on one of the best-selling books of all time, “The Tale of Peter Rabbit” by Beatrix Potter and features all of the beloved characters in the story.

Peter Rabbit and his cousin, Benjamin Bunny, are as naughty as ever this year as they sneak into their neighbor Mr. McGregor’s garden time and time again to steal his vegetables. When his patience grows thin, the farmer, who’s “a meanie with a temper like a bear,” sets out to stop the marauders once and for all. When Peter is caught in a trap, his mother must step in to help him. Will the two neighbors be able to come up with a compromise?

Directed by Sanzel, the eight adult cast members embrace the adorable script and run with it. Dylan Robert Poulos reprises his role as Peter with boundless energy and his astounding acrobats steal the show. Steven Uihlein, as Peter’s partner in crime, Benjamin, provides plenty of comic relief, and Jessica Contino is lovely as the calm and even-tempered Mrs. Rabbit.

Mrs. Rabbit with good little bunnies, Cotton-Tail, Flopsy and Mopsy.

When they’re not eating bread and milk and blackberries, Peter’s sisters, Flopsy, Mopsy and Cotton-Tail (the talented trio of Nicole Bianco, K.D. Guadagno and Meg Bush) spend much of the show looking for their brother in the theater, engaging audience members along the way. Andrew Lenahan and Elizabeth Ladd round out the cast as the harmonious duo Mr. and Mrs. McGregor who love their garden.

The familiar musical numbers, written by Kevin F. Story and accompanied on piano by Steve McCoy, are the heart of the show. Choreography by Nicole Bianco is top notch, especially with “Run, Peter, Run” and the fun hip-hop number, “Peter’s Socks.” Costumes by Teresa Matteson are charming, from the bunnies’ colorful dresses of pink, yellow and blue to their white bunny tails.

About 5 minutes into Sunday morning’s show a little boy in the audience turned to his grandmother and loudly stated “This is so wonderful!!” This reviewer would have to concur. Grab your children or grandchildren and hop over to Theatre Three for an incredibly sweet treat. They’ll love you for it.

Peter Rabbit and Benjamin Bunny have some fun with the McGregors.

Running time is approximately one hour and 10 minutes with one 10-minute intermission. Booster seats are available and souvenir bunnies in various spring colors will be sold before the show and during intermission for $5. Proceeds will help maintain the historic building. Meet the cast in the lobby after the show for photos.

Theatre Three, 412 Main St., Port Jefferson will present “The Adventures of Peter Rabbit” on March 17 and 24 and April 4, 5, 6, 7 and 14 at 11 a.m.

Children’s theater will continue on the Mainstage with “Stand Up! Stand Out! The Bullying Project” from April 21 to May 5; “Goldilocks — Is That You?” from May 26 to June 9 and a brand new original play, “The Princess Who Saved a Dragon,” from July 6 to Aug. 9. All seats are $10. For more information, call the box office at 631-928-9100 or visit www.theatrethree.com.

All photos by Peter Lanscombe, Theatre Three Productions Inc.

Cast of Theatre Three's 'Nunsense'. Photo by Brian Hoerger, Theatre Three Productions Inc.

By Heidi Sutton

Theatre Three continues its 48th season with the heavenly musical comedy “Nunsense.” The show, which opened on the Mainstage last Saturday evening, catered to a packed house ready to sit back, relax and have some fun. And judging by the rip-roaring laughter all night, it did not disappoint.

With book, music and lyrics by Dan Goggin, the original Off-Broadway production opened in 1985 and ran for 3,672 performances, becoming the second-longest-running Off-Broadway show in history. By the time it closed 10 years later, “Nunsense” had become an international phenomenon, having been translated into over 20 languages with more than 8,000 productions worldwide.

TracyLynn Conner, Sari Feldman and Jessica Contino in a scene from ‘Nunsense’

Now the congregation has taken up residence at Theatre Three and although Catholics will most identify with this hilarious show, audiences of all faiths are sure to have their spirits lifted as well.

The Little Sisters of Hoboken are in a bit of a pickle. While 19 of the nuns are off playing Bingo, the convent’s cook, Sister Julia, Child of God, accidently poisons the remaining 52 nuns by serving them a batch of botulism-laced vichyssoise. As one nun quips, “For 52, bon appetite was also bon voyage.”

After a successful greeting-card fundraiser, 48 of the sisters are laid to rest. Thinking there is plenty of money left over, Mother Superior spends the rest of the money on a plasma TV, leaving no money to pay for the last four burials. While the remaining deceased are temporarily stored in cold storage, five of the nuns decide to stage a variety show in the Mt. Saint Helen’s School auditorium to raise the rest of the money. “We’ve just got to get those girls out of the freezer,” they lament.

Sister Mary Regina (Phyliss March) and Sister Robert Anne (Sari Feldman) share a moment.

Under the skillful direction of Jeffrey Sanzel, the show’s über-talented cast is given the freedom to bring out the strong personalities of their characters and have a blast doing it. At the beginning of the production, the group sings, “Though we’re on our way to heaven, we’re here to raise some hell.” Blessed with wonderful harmonic voices, great comedic timing and a seemingly inexhaustable amount of energy, they put on quite a show.

The incomparable Phyllis March plays uptight Mother Superior Sister Mary Regina who loosens up quite a bit at the end of the first act in one of the funniest scenes in the play, and Linda May is wonderful as the second-in-command Sister Mary Hubert who has higher aspirations.

TracyLynn Conner is hilarious as the wide-eyed Sister Mary Amnesia who lost her memory when a crucifix fell on her head. “She just a big mess,” mutters Mother Superior under her breath. Conner steals the show with her duet with a puppet in “So You Want to Be a Nun.”

Sari Feldman is Sister Robert Anne, the streetwise understudy from Brooklyn who “Just wants to be a star” and finally gets the chance to shine brightly in Act Two. Jessica Contino rounds out the cast as the sweet Sister Mary Leo who dreams of being the first nun ballerina.

The brilliant script is full of hilarious puns — “How do you make holy water?” “I don’t know, how DO you make holy water?” “You boil the hell out of it!” — along with double entendres and every nun joke out there. The wonderful songs, 20 in all, are accompanied by the terrific Mt. Saint Helen’s School Band under the direction of Steve McCoy.

Vichyssoise anyone?Linda May, Phyliss March and TracyLynn Conner in a scene from ‘Nunsense’

A nice touch is the constant audience participation, which is strictly voluntary. Before the show and intermission the nuns greet the patrons and pose for photos, and during the show the audience takes part in a quiz with a chance to win prizes. A short film by Ray Mason and Sanzel starring the five sisters of Hoboken in the second act is just the icing on the cake. From the initial Mt. Saint Helen’s cheer to the final amen, “Nunsense” is simply divine and should not be missed.

Enjoy a drink at Griswold’s Café on the lower level of the theater and take a chance at 50/50 during intermission. The theater, more specifically, the nuns will be collecting donations for Hurricane Maria on behalf of Direct Relief at the end of the night.

Sponsored by Bridgehampton National Bank, the production is dedicated to the memory of Carolyn Droscoski who passed away suddenly on Feb. 5 at the age of 61. “Our hearts and our stage will be a little emptier.” Droscoski was a constant presence at Theatre Three, appearing on the  Mainstage, cabaret and children’s theater for over 40 years. According to the theater’s website, the actress appeared Off-Broadway and traveled the country in the various incarnations of “Nunsense” and is one of the few actresses to have played all five roles.

Theatre Three, located at 412 Main St. in Port Jefferson, will present “Nunsense” through March 24. The season will continue with “12 Angry Men” from April 7 to May 5 and the musical comedy “Curtains” from May 19 to June 23. 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.

All photos by Brian Hoerger, Theatre Three Productions Inc.

From left, Aria, age 4, of Rocky Point and Cara, age 6, of Port Jefferson Station pose with the cast of ‘Rapunzel: The Untold Story!’ after last Saturday’s opening performance. Photo by Heidi Sutton

By Heidi Sutton

The Brothers Grimm have left behind a tremendous legacy with their wonderful fairy tales including “Snow White,” “Sleeping Beauty,” “Cinderella” and “Rapunzel,” just to name a few. The latter is the subject of Theatre Three’s latest children’s musical, albeit with a clever twist. Written by Jeffrey Sanzel and Kevin F. Story, “Rapunzel: The Untold Story!” turns the original fairy tale of a damsel trapped in a tower on its head and provides for a hilarious and magical afternoon.

The show is narrated by The Barker, enthusiastically played by Dylan Robert Poulos, who guides the story from the corner of the stage. “How will you be spending the hour? By watching a girl in a tower,” he quips.

Meg Bush, Jessica Contino and Dylan Robert Poulos in a scene from ‘Rapunzel: The Untold Story!’ Photo by Peter Lanscombe, Theatre Three Productions Inc.

When a husband (Steven Uihlein) is asked by his pregnant wife (Melanie Acampora) to steal some vegetables from the witch’s garden next door, he reluctantly agrees. (Happy wife, happy life, right?) After being caught red-handed for the third time, he asks the witch (Meg Bush) if she will turn him into a frog? Take his first-born child? “No,” she replies, “Just … don’t do it again.” Turns out she is a good, sweet and kind witch and therein lies the twist. When the couple’s child is born, the witch decides to send over a vegetable basket to congratulate them and sprinkles it with a slow-releasing happiness potion.

As Rapunzel (Jessica Contino) enters her teenage years, she becomes increasingly ill-tempered, something many parents can relate to, and makes everyone’s life miserable. She refuses to cut her hair and is always in a rotten mood. The situation is so bad that her parents beg the witch to take her off their hands and lock her away in a tower. It is then that the witch realizes that she accidently mixed up the happy potion with a rotten potion — “I made a goof and the girl is proof” — and sets out to find a handsome prince (Andrew Lenahan) to break the spell. Will this version of “Rapunzel” have a happy ending?

Directed by Sanzel, the six adult cast members take the cleverly written script and run with it. They know their target audience well and do an excellent job conveying the story. A nice touch is the constant interaction with the audience. Whenever a problem arises, The Barker gestures for the lights to go up and asks the audience for encouragement, revealing the moral of the story — that the real magic in the world is friendship.

Accompanied on piano by Steve McCoy, the original song and dance numbers, with choreography by Sari Feldman, are fun and engaging and the costumes by Teresa Matteson are spot on. Utilizing the gorgeous set from the current Mainstage production of “I Hate Hamlet,” with its Gothic castle interior and a balcony resembling a tower, is just the icing on the cake.

Snacks and beverages are available for purchase during intermission, booster seats are available and costumes are encouraged. Also, make sure to stop by and say hello to the cast in the lobby after the show. The actors welcome questions (“Is that your real hair?”) and readily pose for photos.

Theatre Three, 412 Main St., Port Jefferson will present “Rapunzel: The Untold Story!” through Feb. 24. Children’s theater continues with “The Adventures of Peter Rabbit” from March 10 to April 14, “Stand Up! Stand Out! The Bullying Project” from April 21 to May 5 and “Goldilocks — Is That You?” from May 26 to June 9. All seats are $10. For more information, call 631-928-9100 or visit www.theatrethree.com.

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Reviewed by Jeffrey Sanzel

Jeannie Moon’s latest romance novel, “Then Came You,” is a wonderful portrait of love in a small town and gets to the heart of what really makes a family.

The book is cleverly rooted in a legend connected to the history of the fictional town of Compass Cove, founded 1667. The prologue tells the story of a young widow, a compasssmith and a needle that pointed not north but to an individual’s true north (i.e., love). It is a sweet tale and one that sets just the hint of magical realism (and will surface later in the novel).

Above, author Jeannie Moon

At the center of Moon’s novel is 29-year-old Mia DeAngelis “who in another life … would have been a star. In this life, she was doing damage control. Again.” Mia is raising her orphaned nephew, Ben, after her sister’s suicide nine years earlier. Initially, Mia’s rather cold mother was raising Ben with Mia’s father. After the two were hit by a drunk driver, taking the father’s life and injuring Mia’s mother, it was decided that Mia should become guardian.

There is nothing of the Hallmark movie about Moon’s dealing with the dysfunctional pieces of the family; she has created real people in a complex situation. Mia’s desire to adopt Ben is very candid and the complications that ensue feel honest. Mia is faced with the double challenge of being a single mother who is not the biological mother. This desire to adopt Ben is the driving force in her life and in the story.

Ben is now an active 10-year-old boy who Mia has moved from Maryland to raise Ben in Compass Cove where she had summered as a girl. Her grandmother, a vital and free spirit, pitches in and Mia is finding a new life. There is nothing random about the relocation from a city to the Long Island suburb. Mia is doing everything she can to save Ben from himself and the latent anger that is brewing beneath the surface. Gradually, it is revealed that Mia lived in the shadow of her thinner, prettier sister — “the sainted Sara” — and is just now coming into her own. It is clear that the sister’s suicide had been a destructive force in all of the family members’ lives, and they are each dealing with it in a different way.

Mia has taken up the post of librarian at the local university, and it is there she begins to find romance. Prior to Compass Cove, she had been unlucky in dating, not having had a second date in five years or a real relationship in nine. Ben has become her whole life and she has accepted that this is her lot. At this point in her life, Mia has never been in love.

Her immediate chemistry with the college football coach Adam Miller is helped along by Adam’s kindness to Ben and his welcoming the boy to become a sort of mascot to the football team. Adam, a former pro-athlete and past “bad boy,” is smitten with Mia. Adam has a long history of risk-taking that ended his professional career but helped him find himself. A native of Compass Cove, he moved back home to find balance again. Their attraction is natural and believable and electric at the get-go.

The cover of Moon’s latest book

There are struggles from the beginning of their courtship (Mia’s mother, even at long distance, has a real canker about sports in general and athletes in particular) but their attraction is undeniable. The novel addresses real fight-or-flight issues in relationships and the challenges that force people to put up walls and barriers.

Moon shifts effortlessly between the voices of Mia and Adam, changing syntax and diction seamlessly, alternating between the articulate and educated Mia and the slightly rough-hewn Adam.

After Adam stands Mia up for a date, she becomes more involved with Noah, a self-important professor, who is “the right guy” and ticks all of the appropriate boxes — but who is clearly not the right choice. Mia begins seeing Noah seriously but is constantly drawn back to Adam.

It is in a crisis involving Ben that the two suitors true colors come out, and Moon deftly addresses the issue of what makes a hero and, ultimately, what makes a good man.

There is plenty of heat between Mia and Adam and their passion is vividly depicted. Their intense and breathless physical compatibility leads to deeper feelings and the examination of second chances and what defines “the love of your life.” One chapter ends with Adam’s plea to himself: “Love her back. Just love her back.” Likewise, when she looks into Adam’s eyes, she sees the future — their future. In “Then Came You,” passion and intimacy are about trust.

In the background of the burgeoning relationship is a cast of interesting and engaging characters, including both their grandmothers, whose families are longtime Compass Cove residents and are involved without the caricature of meddling.

One of the richest characters is Mia’s mother, Ellen, a distant woman of strong opinions and a judgmental streak who has become acerbated by her daughter’s and husband’s deaths. Living in Charleston, Ellen does not want to give up legal custody of Ben and yet she doesn’t want to take full-time responsibility as it would interfere with the new life she has set for herself. While she is mostly portrayed in phone calls, the depth of her control permeates Mia and Ben’s lives. Moon has well-crafted Ellen’s literal and figurative disconnects and becomes the threat to Mia’s adoption of Ben.

In addition, the surfacing at Thanksgiving of Adam’s ex — the rail-thin, acid-tongued model Pilar — brings up doubts but then strengthens Adam and Mia’s future. This forced confrontation with his past, helps Adam grow yet another step toward what he really wants in the world. There is a late-in-the-game plot twist that enforces Mia’s complicated family history. But rather than feeling contrived, it is brutally honest and raises the final stakes in Mia, creating the family she truly craves.

If anything, “Then Came You” is a tribute to the support of a small town. “Mia had only started to learn it was okay to lean on others since moving to Compass Cove.” She moves from a life of isolation and the illusion of independence to embracing extended family in the form of friends and neighbors.

For both Mia and Adam, making Compass Cove a home brings out the good and the better in them. “Then Came You” is an appealing novel that will delight fans of both the romance and literature genres.

Jeannie Moon is the author of 15 published novels. Born and raised in Huntington, Moon is currently a librarian in the Smithtown school district and the president of the Long Island Romance Writers. “Then Came You” is the first book in her new Compass Cove series, published by Tule Publishing Group, and is available at Barnes & Noble, Amazon, Kobo and iBooks. Meet her at a romance author panel, The Power of Love, at Sachem Public Library in Holbrook on Saturday, Feb. 10 from 1 to 2:30 p.m. Books will be available for purchasing and signing. For more information on the author, visit her website at www.jeanniemoon.com.

Theatre Three will present a sensory-friendly performance of “The Adventures of Peter Rabbit” on March 11.

By Jennifer Sloat

Sensory-friendly performances are now part of the marquee at Theatre Three in Port Jefferson. The shows are modified to provide a more comfortable setting for children with special needs. The theater’s artistic director, Jeffrey Sanzel, said they have been providing sensory friendly shows since October 2016 and the feedback he is receiving has been very positive.

“A parent contacted us and asked us if we would consider doing it,” said Sanzel. “We want to be inclusive and so I started looking into it.”

A sensory-friendly performance of “Goldilocks — Is That You?” will take place on June 3.

Sanzel, who previously taught high school for two years, reached out to a former student who works with autistic children to get her feedback and assistance in making the modifications. He began the work in June 2016 and the first sensory sensitive show was performed in October of 2016.

Families who attend the show can expect house lights to remain up and special effects and sound levels to be lowered. The music is quieter and there are no strobe lights. Actors do not run through the aisles and instead do a slow motion chase. Kids can also move freely about the auditorium during the show, lowering stress levels for parents who are concerned about disturbing fellow audience members.

“Knowing that we would not be frowned upon in the event my son could not contain his excitement made it an enjoyable event for all of us,” said audience member Lisa Clark. “[My son] Christopher loved the show and did not want to leave. When a cast member realized we were having trouble getting him to the lobby to take pictures with the rest of the cast, she summoned the cast to gather around him. How awesome is that?”

A sensory-friendly performance of “Rapunzel: The Untold Story!” will be held on Jan. 21

A social story, provided on the theater’s website, is also used to lessen anxiety that kids may be feeling about attending the show. The online picture book can be reviewed by the children beforehand, providing a virtual walk through of attending a live show. It includes photos of the outside and inside of the theater, the box office and a picture of who will be giving them their tickets. Kids will see the path they will take to their seats, where they will sit and what the stage looks like. They will also see pictures of the actors in and out of their costume

“The thing that has been amazing is that ninety-nine percent of the kids have stayed the entire show; only twice did a child have to leave the show for a bit and come back up,” said Sanzel. All throughout the show the children are engaged, laughing and cheering. “We write our own shows and it is wonderful that they clearly are enjoying it.”

Perhaps most comforting of all is the opportunity for parents, caregivers and children to be in the company of others with whom they have something in common. “Families love it,” said Theatre Three company member Jessica Contino. “They are so thankful afterward. We stand in lobby for a meet and greet [after the show]. A young man in a wheelchair stopped us last year and said it was their second show. You just feel so good about it. It really hits home for some.”

Theatre Three is located at 412 Main Street in Port Jefferson. Sensory-friendly children shows are typically offered on the first Sunday of every month. Upcoming shows include “Rapunzel: The Untold Story!” on Jan. 21, “The Adventures of Peter Rabbit” on March 11, “Stand Up! Stand Out! The Bullying Project” on April 29 and “Goldilocks — Is That You?” on June 3. All performances are at 11 a.m. All seats are $10. For further information, call 631-928-9100 or visit www.theatrethree.com.

All photos by Peter Lanscombe, Theatre Three Productions Inc.

 

The cast of 'Barnaby Saves Christmas'

By Heidi Sutton

In 2003, Theatre Three’s Douglas Quattrock and Jeffrey Sanzel sat down and wrote an adorable musical for children titled “Barnaby Saves Christmas,” about a little elf named Barnaby and a tiny reindeer called Franklynne who teach us that “Christmas lies within our hearts.” I recently had the opportunity to ask the two playwrights a few questions about the show that has become a beloved holiday tradition for families on the North Shore.

Can you believe it’s been 14 years?

DQ: No I can’t … it feels like just yesterday. I couldn’t possibly be getting that old!

What inspired you to write a holiday show for children?

JS: Doug conceived and created “Barnaby.” I had very little to do with its initial creation. He brought me a rough draft and the incredible score the summer before we premiered it. I was immediately taken by his terrific songs and I loved the idea of a holiday show that touched on another culture. During the fall, he continued to write and rewrite the show and went into rehearsal with it. It opened to great response and we knew we had our annual show.

Over the next several years, Doug and I worked on the book together, trading ideas, trying new things. Doug continued to add to the score and we have revised the show every year. The only thing that hasn’t changed is the beautiful score and the show’s great big heart — Barnaby and Franklynne are truly amazing holiday figures with as much character as Rudolph or Santa.

DQ: I have 13 nieces and nephews and I used to babysit when they were young and they would ask me to tell them bedtime stories. I used to make up stories for them, and one holiday season I started to tell them about a little elf and his reindeer friend. I always tried to put messages in the stories such as believing in yourself, believing that you can do anything, getting over fears and things like that.

They would get a little piece of the story at a time. Then I started writing songs to go along with that particular story and play them for the kids. Theatre Three always does “A Christmas Carol,” and that is a little scary for the young ones, and I wanted to offer a holiday show for the children. When I spoke to Jeff about the idea, he loved it and encouraged me to give it a shot. I was much more confident writing songs, which in themselves are stories, but writing an actual play was another thing. “Barnaby” was the first play I ever wrote and without Jeff’s extraordinary talent and guidance I don’t think I could have ever done it. His knowledge of theater and storytelling is second to none.

‘Barnaby’ is considered a Christmas story yet Hanukkah is very much a part of it. Why was it important to you to include the Festival of Lights in this story?

DQ: As people, I have always believed that we can all learn something from each other. Whatever your faith or beliefs, we are all here in this life together. We should respect and be open to others ways of living. The Festival of Lights celebrates a miracle and is a story of perseverance … not giving up. Barnaby and Franklynne are faced with a struggle at that point in the plot, and it struck me as the perfect opportunity to share that beautiful story. That’s where the song “Miracles” comes in.

JS: The fact that children get a small education on Hanukkah is an additional gift. We’ve had so many people thank us for adding that and finding the connection in the overall holiday spirit.

How does it make you feel when you hear the children laughing and see them enjoy the show?

DQ: It’s beyond gratifying and a little surreal. I love when the kids laugh and sing the songs on their way out of the theater.

What message did you hope to convey when you wrote this show?

DQ: The message of the story is really in some of the lyrics of the songs. “… Every day’s a golden opportunity to be better than you used to be…” “There are so many miracles that happen everyday” and lastly. “… Christmas lies within our hearts, The toys we give are just a sign of all the love we feel inside, and there’s enough to share for you and me.”

Theatre Three, 412 Main St., Port Jefferson will present “Barnaby Saves Christmas” on Dec. 23, 24, 28, 29 and 30 at 11 a.m. All seats are $10. To order, call 631-928-9100 or visit www.theatrethree.com.

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0 2008

By Jeffrey Sanzel

Public radio personality and prolific author David Bouchier has gathered 122 essays in his newest collection, the charming “Out of Thin Air.” Divided into seven loose themes covering such topics as technology, politics and travel, Bouchier covers many of the same ideas but always from a different angle. As they are based on his well-known radio commentaries, each essay is a clever gem, rarely more than two pages, and makes for insightful and entertaining reading.

Author David Bouchier

In the Preface, Bouchier defines an essay as “the writer talking to you, one on one, about something that he or she finds interesting, annoying, bewildering, or funny.” This definitive statement guides the entire work. As we wend our way through his experiences, it is as if he is sitting across from us over a lively coffee. He is articulate and witty and, even when he is at his most hyperbolic, there is a sincerity that comes through.

Bouchier’s first essay, “Waiting for the End” appropriately deals with just that — the end of the world. He clearly gives us a sense of his life’s view and what will come in the ensuing pages: “The future is virgin territory, and any pessimist can claim it.” When writing of a cinematic look at the apocalypse: “The movie was two hours and thirty-eight minutes long. The actual end of the world needs to be snappier than that, or we will lose interest (average adult attention span: twenty minutes).” We now know who Bouchier is and can proceed in the full knowledge that we will laugh and be inspired in turns or, just as often, simultaneously.

Much of the book is taken up with issues of modern technology and the disenfranchisement of people of an earlier generation. What separates Bouchier from the usual curmudgeonly wheezes is that he has — albeit sometimes reluctantly — embraced not just the power of these changes but their necessity. Not that he doesn’t take many pointed and highly amusing shots at our slavish addiction to all things computer centric; he rails against them but still sees their value. “We are never alone unless the battery runs out.” He is not so much technophobic but “techno-wary.” Of cellphones, “I talk, therefore I am” is followed by his taking it a step further that this form of communication brings us closer to each other and yet isolates us from the world.

In his longest essay, “The Ghost in the Machine,” Bouchier makes the valid point that computers have rid us of the need for memory. With instant access, we have disconnected from ourselves and no actually living is done. We have become a society that survives in a virtual existence. While he is going to the extreme to make his point, there is a reality in his argument that demands we look inward.

“From Hardware to Software” is a laugh-out-loud equation of old-fashioned hardware stores with the heroic doctors of television drama with the dramatic of-course-it-can-be-saved. It reflects on a time when problems had solutions and mourns the loss of these kinder bastions of help and support and knowledge. In the same vein, the author writes a paean to the joy of the manual typewriter, gone the same way is these shops.

What helps enrich the pieces is that Bouchier is incredibly well-read and knowledgeable in a wide range of topics — literature (novels in particular), art and science to name a few. He encourages the reader to embrace science — even if you don’t understand it. He praises continuing education but never laments that education is wasted on the young. It gives a vast scope for interpretation and reference that enriches the depth of his exploration.

As stated, many subjects overlap (notably cellphones, computers and other contemporary gadgetry), but he manages to mine a different perspective with each vignette: He finds a singular awareness to highlight.

The topics that are covered are plentiful. The author’s thoughts touch on ideas from “selective forgetting” (a wonderfully accurate concept) to the danger of the smiley face. He pursues the danger of teaching fake history and the repercussions on young (and older) minds. Here, like so many places in his writing, he shifts easily from his acerbic and pithy quips to important concepts such as learning from history, not just ingest it.

Bouchier’s take on the opposite of procrastination — “pre-crastination” — is amusing and not a little disturbing; he finds that people who rush into things are not giving the proper thought. This leads to a siting of truly dangerous things that should give people pause: “double bacon cheeseburgers with fries, international wars, and marriage.” Even when taking aim at easy targets, his perceptions are both fresh and refreshing. Ultimately, in “We’ll Do This Later,” somehow he makes a strong case for procrastination. He is also adept at looking at two sides of a situation.

In “The Way We Were,” the author starts out with a pointedly ambivalent view of reunions but then comes to a much more introspective conclusion, finding the worth in the event. It is not just that he finds the two views but he is able to perceive multiple awarenesses.

“Worth Preserving” is a timely solution for maintaining historical sites. What is fascinating is that at first it seems like he is being tongue-in-cheek — and he might possibly be — but the concepts of preservation and accessibility are sound. It is this blend of humor and understanding that fuel his writing.

And yet, Bouchier’s take on nostalgia comes at the discussion from a different standpoint: “Every nation has its own tales of a glorious past that never existed.” He gives Downton Abbey as a prime example that the truth is much darker below stairs. Basically, the good old days that are glorified by film, television and novels never existed.

He laments the bookless bookstores that have become clothing emporiums — most notably university bookstores where books are screens “to goggle or Google at.” Clever word play is powerful and his succinctness is an arrow to the center, his dissections as swift and accurate as a scalpel.

“Losing stuff, like losing weight, is a lost cause.” We have too many things — we are saturated as “willing prisoners” of our acquisitions. Again, he turns his accusations inward and finds the positive in what has become a negative cliché — he finds the value in “stuff” as a connection to who we are related to from where we’ve come.

The author’s thoughts about wedding extravagance are really an exploration of marriage in the short and long term, calling to task the reality that in the modern age being average and fitting in trumps being Mozart. In the age of driverless cars, perhaps it is not the vehicles that should be recalled but the drivers themselves. In a flip on red-light cameras, he makes the case to reward good drivers for correct behavior.

The selfie as “a sudden plague of pathological vanity” is extreme — but not inaccurate, flying in the face of the cliché of a picture being worth a thousand words. The “Look at me, I’m here, I exist” is no more than a “flicker across the consciousness leaving no trace. They’re not worth a thousand words, they replace a thousand words.”

There is a great deal of strong advice in Bouchier’s writings. In “A Good Long Read,” he meditates on the transition from reading long books to embracing a series of books. This is a healthy and helpful suggestion to readers of desire but limited time.

An extended section on politics in the book should be made required reading in every school (and home, for that matter). The author’s view on the American system can be summed up in his observation that we have hundreds of choices for cereal but only two for president. He writes about the true heroes of our times and times past as well as a fascinating connection between clowns, Halloween and Election Day.

A discussion of a universal draft — men, woman, all ages an socioeconomic backgrounds — ultimately hints at broader ideas. He does the same thing with a darkly comic advocation of making everyone in the world an American. In his section on travel, Bouchier opens up with “Escape Attempts,” which hints at deeper themes — going from trips to war to marriage and children. He makes profound statements about the power of inner life, of reading versus travel. He points out that “to” is often less important than “from.” Style of travel from point of view as well as the unnecessary obsession with souvenirs all encourage us to look not just in the mirror but within ourselves.

The essay “The Business of America” is the smartest and most accurate assessment of the lack of values in our constant pursuit of meetings. In the “Right to Arm Bears,” Bouchier proposes leveling the hunting playing field by providing animals with guns. “Philosophy in the Slow Lane” meditates on life in the Long Island Expressway traffic jams, comparing it to the classic audio novels (Twain, Melville) he listens to when caught in the given congestion of our daily lives. All pithy statements; all with great truths beneath.

The best summation of Bouchier’s work would be in his own words: “What makes us different from bees and lemmings is that we can and do break away from the herd, and think our separate thoughts. We are bees with a perspective on the hive, which allows us to evolve and to create. It also gives us a headache.”

Thank you, Mr. Bouchier for the reminder of all the former. And your tag to this thought reminds us never to take ourselves too seriously.

‘Out of Thin Air’ is available online at www.amazon.com. Meet author David Bouchier at the Third Friday event at the Reboli Center for Art and History, 64 Main St., Stony Brook on Friday, Dec. 15 at 6 p.m. Bouchier will discuss his 25 years on public radio. The event is free.