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Michael Tessler

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Mothers embrace one another during a Hope Walk for Addiction rally at Cedar Beach in Mount Sinai last year. Photo by Kevin Redding

TBR News Media raked in 11 New York Press Association awards last weekend.

The company won prizes across the gamut of categories, from news and feature stories to photos and advertisements.

“I am so proud of the staff at TBR News Media that works hard to deliver the news each week,” Publisher Leah Dunaief said. “We are delighted to be among the top winners in the contest, as we are every year.”

“Comprehensive, sustained coverage of a life-or-death infrastructure issue. Lede with compelling citizens rather than reports from bureaucrats or written statements.”

— NYPA judges

In the feature story category, TBR News Media had two winners for its division amongst publications with similar circulation. Port Times Record Editor Alex Petroski won first place for his story on how a local political party boss helped President Donald Trump (R) win Long Island votes.

“Following the election, many wondered, ‘How did Trump win?” judges wrote about Petroski’s piece titled “One on one with the man who helped Donald Trump win Suffolk County,” which profiles Suffolk County Republican Committee Chairman John Jay LaValle and details his relationship with the president. “This story answers that on a micro level with an in-depth interview of the man who helped Trump in Suffolk County. I think more papers would have been well served to seek out similar stories.”

Reporter Kevin Redding took third in the same category for his story for The Village Times Herald on a spooky local bar in Smithtown.

“A perfect pre-Halloween story about the haunted local watering hole,” NYPA judges said. “Plenty of examples of what some have seen, heard and felt, which is just what you’d want from a story about a haunted building.”

Petroski also won second place in Division 3 for his ongoing coverage on a boat ramp in Port Jefferson Village where two people had died and at least one other was severely injured, in the news series cateogry. Times of Huntington Editor Sara-Megan Walsh took third place in the same category.

“Comprehensive, sustained coverage of a life-or-death infrastructure issue,” the judges wrote of Petroski’s five-piece submission that included three stories, a front page and editorial on the topic. “Lede with compelling citizens rather than reports from bureaucrats or written statements. Narrative scene-setting ledes can make stories like this more important and compelling.”

Alex Petroski’s story on how Donald Trump won Suffolk County won a first-place feature story prize.

Redding also roped in a second award, getting a third-place nod in feature photo Division 2 for a picture he took for The Village Beacon Record at Hope Walk for Addiction at Cedar Beach in Mount Sinai.

“There was tight competition for third place, but the emotion on the faces of the people in this photo put it a step above the rest,” the judges said of the women hugging and crying in the photo, who’d lost loved ones to battles with addiction.

Arts and Lifestyles Editor Heidi Sutton won first place in the Division 2 picture story category for her layout of local Setauket resident Donna Crinnian’s photos of birds in Stony Brook Harbor. The picture essay was titled “Winged Wonders of Stony Brook.”

“Elegant way to showcase nature of our feathered friends,” NYPA judges wrote.

Director of Media Productions Michael Tessler received an honorable mention in Division 2 coverage of the arts for his review of Theatre Three in Port Jefferson’s rendition of “A Christmas Carol.”

“Nice photos and an insightful story on the characters portraying a beloved classic,” judges said.

The Village Times Herald won first place for its classified advertising, as judges said it was “clean, precise, well-spaces and not crowded,” and Wendy Mercier claimed a first-place prize for best small space ad. TBR News Media’s Sharon Nicholson won second place for her design of a best large space ad. The Village Times Herald ranked in the Top 5 in total advertising contest points with 50, good for fourth place. The first-place winner, Dan’s Papers, received 90.

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Matt Damon and Kristen Wiig star as a husband and wife who consider shrinking themselves in order to simplify their lives. Photo courtesy of Venice Film Festival

By Michael Tessler

Several months ago I stumbled upon the trailer for “Downsizing” and its concept really struck me as something special. In an era of reboots and sequels it was so refreshing to hear an idea I’d never heard before. Judging from the trailer, the film appeared to be a fun-sized science fiction comedy perfect for families during the holiday season. What was delivered, however, was something entirely different for better or worse, I’m still not quite sure, and it’s definitely not kid friendly.

Here’s what you need to know: With the global population swelling, scientists in Norway discover a formula that shrinks people to miniature size. In the years that follow, communities begin popping up around the world that allow “downsized” individuals to live like kings in idealistic domed neighborhoods. Since everything is smaller, it is significantly cheaper … allowing people who’d otherwise be poor or in the middle class to enjoy life in massive mansions with the most expensive foods and goods at their pint-sized disposal.

Udo Kier, Matt Damon and Christoph Waltz in a scene from ‘Downsizing’

Directed by Alexander Payne, the story follows occupational therapist Paul Safranek (Matt Damon), your generic middle-class man who is forced to live in his childhood home after his mother gets sick. He and his wife, played by SNL alumni Kristen Wiig, attend a high school reunion where they discover that two of their old friends have downsized. After having them over for dinner, they make a trip to visit one of these pint-sized communities. Ultimately the couple decides to move forward with being downsized, selling their home, possessions, and planning to enjoy life as millionaires in the idealistic Leisureland Estates.

Separated by gender, Damon’s character undergoes the procedure first. It hilariously involves the shaving of his eyebrows and facial hair, among other things. He awakes as a small person, about 6 inches tall, and is shocked to discover that his wife has backed out at the very last minute, leaving him alone in a small, small world.

From there the story flashes forward and takes a few unexpected turns as we are introduced to eccentric millionaire Dusan Mirkovic, played by the enormously talented and multifaceted Christoph Waltz (“Inglorious Bastards,” “Django Unchained”) and, among the most unanticipated turns, the introduction of Ngoc Lan Tran, a Vietnamese civil rights activist who gets downsized by her government as punishment for staging a series of protests. In the process she loses her leg and lives in the slums outside Leisureland working as a maid. Portrayed by the lovable Hong Chau, this character adds an exciting dimension to the story.

The cast also includes brief but memorable appearances by the likes of Margo Martindale, Jason Sudeikis, Udo Kier, Laura Dern, Niecy Nash, Kerri Kenney and Neil Patrick Harris.

Visually, this film is stunning, especially in its ability to make you thoroughly believe in these downsized communities. Where this film flops is its inability to figure out what it wants to be and accomplish. “Downsizing” has the perfect cast to get the job done, but the screenplay doesn’t quite deliver. It has some very funny moments though, to the point where belly aching laughter was heard throughout the theater on various occasions. It also has some serious undertones about purpose and conserving the world we live in. By the end of the film, however, I didn’t quite feel the story was neatly tied up … and the writer’s vision fell a little flat.

In an effort to achieve too much, “Downsizing” misses the mark. Forgetting its own lesson in the process, that bigger isn’t always better. Though certainly entertaining, I’d give “Downsizing” a generous 6/10.

Rated R for language including sexual references, some graphic nudity and drug use, “Downsizing” is now playing in local theaters.

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The Ghost of Jacob Marley (Steve McCoy) pays his former business partner a visit.
Above, Scrooge is confronted with the shadows of what could happen to him if he does not change his ways
Bob Cratchit (Steve Wangner) faces the wrath of his boss, Scrooge (Jeffrey Sanzel).
Antoine Jones as the Ghost of Christmas Present
Jeffrey Sanzel as Scrooge
The cast of 'A Christmas Carol'
'Spirit, show me some tenderness'
Scrooge meets the cheeky Ghost of Christmas Present
From left, Steve Wangner, Jeffrey Sanzel and Dylan Robert Poulos in a scene from 'A Christmas Carol'

By Michael Tessler

Theatre Three delivers perhaps one of my most favorite holiday traditions: a classic retelling of Charles Dickens’ most beloved work, “A Christmas Carol,” right in the heart of downtown Port Jefferson. This stage adaptation is so beautifully conceived and has been so well refined over the years that it’d appear Dickens’ 174-year-old novel jumps quite literally from the pages onto the stage in a fashion that can be best described as magical.

This particular production, which is celebrating its 34th year, is nothing short of miraculous, not just for its stunning set design, incredible wardrobe and perfectly planned lighting and sound … but also for the fact that somehow each and every year the show (while familiar) feels brand new.

Jeffrey Sanzel, the show’s director and the actor behind the famous literary curmudgeon Ebenezer Scrooge, shuffles the cast, set and various elements of the show, refining it and bringing new life to it each and every season. In the long and impressive shelf life of “A Christmas Carol” there has never, in my opinion, been a better Scrooge than Jeffrey Sanzel. No actor has ever lived and breathed that character for so long and with such passion as Sanzel. Watching his character’s transformation unfold on stage is pure delight.

This year’s show beams with talent. One can’t help but admire the incredible skill of the show’s youngest cast members who perform alongside their adult counterparts as equals both in professionalism and talent. Not for a moment does any actor’s performance take you out of this whimsical Dickensian world Sanzel creates.

Steve Wangner shines as Bob Cratchit, bringing to life all the warmth and love of Scrooge’s least favorite employee. Wangner had big shoes to fill, replacing Douglas Quattrock who has long held the role. No doubt Quattrock should be proud of his successor who masterfully carried Tiny Tim (portrayed jointly by Ryan Becker and Cameron Turner) upon his shoulders. His family dynamic especially with his wife (Suzie Dunn) and children is wonderfully endearing.

My personal favorite of the ensemble cast is Mr. Fezziwig portrayed by the cheerful George Liberman. Though I’ve got the bias of loving his character, this actor’s presence puts an instant smile on your face and reminds you of the wholesome fun of Christmas time. His partner in crime, Mrs. Fezziwig, is portrayed by the wonderful Ginger Dalton who also excels as Mrs. Dilber … the cockney maid of Scrooge whose comedic ability is unparalleled in the two-act show.

Megan Bush brings to life Belle, the first and only love of Scrooge and daughter of Fezziwig. Though her character’s time on stage is brief, she so perfectly captures the innocence of a first love and shows us a side of Scrooge we often forget. Steve McCoy, the wildly talented Theatre Three veteran, brings to life (and death) Scrooge’s late business partner Jacob Marley. His performance is haunting in the best kind of way. On the opposite end of the spectrum is the kind and loving Fan performed both by Heather Kuhn and Sophia Knapp. Her special relationship with young Scrooge (Kiernan Urso and Alexander Yagud-Wolek) encapsulates the special bond reserved just for siblings.

This year the three spirits have outdone themselves — beginning with the stunningly talented Jessica Contino whose Ghost of Christmas Past comes to life in almost angelic form. She is followed by the hysterical and larger-than-life Antoine Jones as the Ghost of Christmas Present, whose epic bellowing laughter echoes through the historic Athena Hall. Last, but certainly not least is the incredible puppetry of Dylan Robert Poulos as the Ghost of Christmas Future who also shows off his talent as an actor in the role of Scrooge’s orphaned nephew Fred Halliwell.

Randall Parsons and Bonnie Vidal bring 19th-century England to Port Jefferson with stunning production design and impeccable costuming. Robert W. Henderson Jr. transports you to the past, present and future with some mesmerizing lighting. This year’s production also welcomed newcomer Melissa Troxler as stage manager who ran the set flawlessly from an audience perspective. Brad Frey provides some wonderful musical direction in addition to the late Ellen Michelmore, whose lasting legacy at Theatre Three can be heard with the beautiful musical conception and sound effects that remain a centerpiece of this production.

Leaving the theater I found my heart filled with a joy and merriment only felt in those special moments when you’re surrounded by family and huddled around a great big Christmas tree. For that wonderful moment, I felt the spirit of Christmas itself … and what a wonderful gift it was to receive from the cast and crew of Theatre Three’s “A Christmas Carol.”

Theatre Three, 412 Main St., Port Jefferson will present “A Christmas Carol” now through Dec. 30. Tickets are $35 adults, $28 seniors and students and $20 children ages 5 to 12. (Children under 5 are not permitted.) To order, call 631-928-9100 or visit www.theatrethree.com.

 

All photos by Brian Hoerger, Theatre Three Productions Inc.

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TracyLynn Conner and Brian Gill in a scene from 'The Bridges of Madison County'

By Michael Tessler

You know you’ve seen an incredible production when you find yourself pondering your own life and place in the universe after exiting the theater. That was the case last Sunday afternoon after attending a production of “The Bridges of Madison County” at Theatre Three in Port Jefferson.

TracyLynn Conner and Brian Gill with the cast from ‘The Bridges of Madison County’

Based on the award-winning novel by Robert James Walker and the beloved film starring Meryl Streep and Clint Eastwood, this musical adaptation has a score worthy of Broadway, and Theatre Three provides a cast equally deserving of that designation.

For those unfamiliar with the plot, this is an unconventional love story. Not cliched but brutally honest and so refreshingly human.

As not to spoil much, we meet our protagonist Francesca, an Italian refugee fleeing a war-torn Italy and a life she’s ready to leave behind. To accomplish this she marries Bud Johnson, a simple-minded but well-meaning American soldier who left life on the farm to serve his country. Both travel back to the United States where they build a home and a beautiful family. Their son Michael doesn’t want to live the life of a farmer like his father; their daughter Carolyn, however, embraces it as she trains an award-winning steer for the annual state fair.

Francesca, lovingly called Fran by her husband, longs for the life she dreamed of as a little girl. She feels it is far too late to begin anew, and while there is food on the table, there’s no money for her to visit her home in Italy and the life she left behind. So she settles for a life as a farmer’s wife, trying to find contentment packing lunches.

From left, Marissa Girgus, Dennis Creighton, Steve McCoy, TracyLynn Conner, Matthew Rafanelli and Ella Watts in a scene from ‘The Bridges of Madison County’

Everything changes for Fran when her husband and children take a trip to the state fair. She gets a rare opportunity to breathe and relax. That is until a beat up pickup truck rolls into her driveway and with it the arrival of Robert Kincaid — a professional photographer from National Geographic putting together a photo series on bridges throughout the United States. He’s lost and needs some directions. He’s well-traveled, having just recently visited Italy and having seen every corner of the globe. Fran invites him into her home and, by extension, her life. Thus her world changes forever.

Though I won’t spoil the rest, the show is a real treat. You’ll feel just about every emotion in the book in this two-act musical. Once again Jeffrey Sanzel shines as a director capable of any genre. His unique vision can make a timeless story feel brand new again.

Undoubtedly some lines are picked up directly from the book and film adaptation, but Sanzel’s production takes you for a ride in that worn down pickup truck. You get a glimpse into someone’s world, and that’s a beautiful thing. Sanzel guides his incredibly talented cast, making it impossible not to feel for these characters. I found myself so invested in characters who managed to emote so much in such a short time. Sanzel has no problem setting the bar higher and higher with each passing performance.

This show’s phenomenal cast certainly made his job easier though! Leading the production is the show’s star, TracyLynn Conner who portrays Francesca. First off, her accent is marvelous and never breaks even once. Her voice is one of the finest I’ve ever heard on a stage. Operatic, emotional and just so beautiful to listen to.

Much credit goes to Jeffrey Hoffman who handled the show’s musical direction and turned this small cast into an incredible musical ensemble.

Matthew Rafanelli and Ella Watts

Fran’s husband Bud is played by Dennis Creighton, who really captures the essence of the character and shows his musical tenor in the show’s second act and final number. He’s accompanied by two incredible young actors — Ella Watts as their daughter Carolyn and Matthew Rafanelli as her bookish brother, Michael. I was particularly impressed with Watts. This former star of NBC’s “The Sound of Music Live!” has a voice so incredibly refined that you wish she had even more time on stage. Rafanelli really shines in his role and you’ll find yourself constantly rooting for him and his dreams and flashing back to your own childhood sibling drama. No doubt we’ll be seeing both actors on stage many times in the future!

Theatre Three veteran and Bryan Cranston look alike Steve McCoy remains one of my favorite company members. He plays Charlie — the friendly, simpleton neighbor of the Johnsons and provides comic relief throughout some of the show’s tougher moments. His wife Marge provides nonstop laughter followed by some incredibly endearing scenes. She is portrayed by the incredibly talented Amy Wodon Huben.

Brian Gill’s low and powerful voice brings Robert Kincaid, the world traveling photographer to life. His duets with Conner are some of the highlights of the show. His personality is infectious and translates beautifully on stage.

Last, though certainly not least, is the incredibly diversified performances of Marissa Girgus who plays not one but over four roles. She steps into each of them flawlessly, creating performances both touching and comedic. I felt all sorts of emotions during her nothing short of groovy performance of “Another Life.”

Being a smaller cast, you can get a sense that each character was crafted to perfection not just by the actors but by their director. They feel so real and so dynamic, which is exceptional as several actors play multiple roles … something that usually takes you out of an experience but now suddenly enhances it.

Brian Gill and TracyLynn Conner

My favorite part of the show (outside of its cast) was its unique score, which combines two radically different genres to make something genuinely unique. Strings played as though from the Italian countryside, harrowing and haunting — a reminder of an old world, an abandoned life combined with the lively sound of the great American Midwest, and the wholehearted lifestyle of the American farmer. For a brief moment these sounds clash into something unique and unforgettable.

This may be one of the most beautiful sets I’ve seen at Theatre Three. Randall Parsons transports you to the great American Midwest. Robert W. Henderson Jr., the show’s lighting designer, ensures the light breaks through the barn wood in spectacular ways. One can’t help but feel nostalgic when looking at the kitchen they designed as well.

From top to bottom this show is local theater at its finest. Provoking several audible gasps from the audience followed by thunderous rounds of applause, “The Bridges of Madison County” is something you wish you could photograph and treasure forever.

Theatre Three, 412 Main St., Port Jefferson will present “The Bridges of Madison County” on the Mainstage through Oct. 28. Tickets are $35 adults, $28 seniors and students, $20 ages 5 to 12. Children under 5 not permitted. Contains adult subject matter. Parental discretion is advised.

A special event, “Behind the Curtain with ‘The Bridges of Madison County’” will be held on Oct. 22. Join Director Jeffrey Sanzel, musical director Jeffrey Hoffman and actor TracyLynn Conner for a freewheeling exploration of this powerful contemporary musical. The full buffet supper and talk will begin at 5 p.m. $30 per person. The event will be followed by the Mainstage performance of “The Bridges of Madison County” at 7 p.m. Tickets for the performance may be purchased separately.

For more information, call 631-928-9100 or visit www.theatrethree.com.

All photos by Peter Lanscombe, Theatre Three Productions Inc.

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Filming the Battle of Long Island scene at Benner's Farm. Photo by Michael Pawluk

By Jenna Lennon

History came to life on Long Island this summer with the production of TBR News Media’s first feature-length film, “One Life to Give,” which paints a picture of the events leading up to the formation of America’s first band of spies, the Culper Spy Ring.

The Culper Spy Ring was organized by Benjamin Tallmadge under orders from General George Washington in the summer of 1778. Tallmadge recruited a group of men and women he could trust in Setauket and, for the remaining years of the war, collected information regarding British troop formations, movements and plans.

The spy ring became the most successful intelligence group on either side of the war during the course of the Revolution. Its existence was unknown to the public until the 1930s when Long Island historian Morton Pennypacker analyzed handwritten letters to Washington and discovered that Robert Townsend and Samuel Culper Jr. were, in fact, the same person.

A battle scene shot at Benner’s Farm. Photo by Michael Pawluk

Based on these true events, “One Life to Give” follows Tallmadge (Dave Morrissey Jr.) and Nathan Hale (Hans Paul Hendrickson) in the early stages of the war and plays off of the speculation that Hale’s famous last words, “My only regret is that I have but one life to give for my country,” were inspired by Joseph Addison’s “Cato, a Tragedy.”

“Tallmadge and Hale are both very motivated individuals. They graduated from Yale at the same time in 1773, and they are good friends. They’re schoolmates and they spent a whole bunch of time at Yale together, but they are very different,” said director, Benji Dunaief, an incoming junior at Emerson College in Boston. “In a lot of ways, they are kind of yin and yang. They’re opposites and opposites that attract and opposites that ultimately prove to be the pieces that transpired into the Culper Spy Ring,” he said.

Colonel John Chester (Jonathan Rabeno), a fellow Yale graduate along with Hale and Tallmadge, tasks Tallmadge with the duty of convincing Hale, who has enlisted in his local militia, to actively join the cause.

“I play Colonel John Chester. He’s from Connecticut. He went to Yale, and he’s friends with Benjamin Tallmadge and Nathan Hale,” Rabeno said. “He kind of acts as a recruiter for getting them involved more in the cause. … so this is really right in the beginning stages of it.”

Cast and crew gather around a camera to view playback. Photo by Michael Pawluk

Hale not only enlists, but eventually is Washington’s (David Gianopoulos) first volunteer to go behind enemy lines and gather British intelligence. Soon after, Hale is captured by Robert Rogers (George Overin), and General William Howe (Jeffrey Sanzel) sentences him to death for committing acts of espionage.

With the motivation of the loss of one of his dearest friends and his brother, William (Aaron Johnson), Tallmadge and Washington form the Culper Spy Ring. “This is a guy who experienced something very traumatic when his brother William died, and it changed the course of history. He took that energy, and he inspirationally manifested it into something so incredibly positive for all of us that we are all benefitting from today,” Morrissey said.

He continues, “As someone who’s brother has died who is also named Will, this was an inspiration for me to be able to hopefully manifest it into something that other people will benefit from in the future. That’s why this is so important for me. I loved working on this film, and I am never going to forget this ever. This one’s for you, Will.”

The producer of “One Life to Give,” TBR’s director of media productions Michael Tessler, grew up “with Setauket in my backyard” and has always had a fascination with Revolutionary War history. “I’m grateful that historians, authors, and film producers have finally brought the narrative of the Culper Spy Ring to life. This history remained elusive for so many years and has evolved from local lore into a spectacular chapter of our founding story,” said Tessler.

Above,the Continental Army shoots off a cannon at Benner’s Farm. Photo by Michael Pawluk

“As a lover of history, the question that kept me up at night and acted as the muse for this piece is simply what tragedies had to occur that would cause the heroes of the Culper Spy Ring to risk everything? Digging into textbooks, letters and the memoir of Benjamin Tallmadge, it became apparent to me that there was an important story to tell, one too often forgotten in the annals of history,” he said, adding “When all is said and done, this is the story of two best friends who saved the Revolution and changed the course of human events.”

While working to write and produce their first feature film beginning in March, Dunaief and Tessler were also tasked with finding a talented cast, a passionate crew and period-appropriate locations where they could tell this story.

“Everyone on the crew I’ve either worked with, somebody on the crew had worked with, or we had just heard really good things about,” Dunaief said.

“I think I wouldn’t do it any other way. We had 12 people on our crew to make a feature film in 16 days. That’s like bare bones. That’s like barer than bare bones. But the fact that everybody was doing two or three jobs at the same time, everyone was pulling their weight and more by a lot really speaks volumes about the kind of people that we had on the crew and had it been a different group of people, I really don’t think we would have been able to finish,” said Dunaief.

Benji Dunaief, left, directs a scene at the Caroline Church of Brookhaven with actor Dave Morrissey Jr. Photo by Jenna Lennon

“We had the most phenomenal cast, crew and community behind us. All of our locations are genuine historic properties beautifully preserved by local organizations — places these heroes actually lived, worked and played. That’s a benefit not afforded to those using sound stages in Hollywood,” Tessler said.

Filming took place over the course of 16 days at many local historic locations including the Caroline Church of Brookhaven, the Sherwood-Jayne House and the Thompson House in Setauket along with the William Miller House in Miller Place.

Scenes were also shot on location at Port Jefferson’s East Beach and Benner’s Farm in Setauket, where a trench with palisades, a fort and nearly 100 reenactors, acting as both Continental and British troops, staged the Battle at Bedford Pass.

“Though exhausting, this was the most rewarding experience of my professional career. Waking up after sleeping in Washington’s marquee tent and seeing a trench, palisades, cannon and an actual Continental Army was just an indescribable experience,” Tessler said.

“This happens to be a local story, but it’s a great story, and it’s a story worth telling,” Dunaief said. “You don’t come across a story like this every day that’s as powerful, as meaningful, as patriotic. There have been so many movies that have been made that have glorified the Revolution, that have taken insane liberties and basically just use it as a backdrop for their own narratives,” he said. “But this is a film that truly pays homage and respect to real people who lived and died for our country, and I think it’s an incredibly important story.”

“One Life to Give” is scheduled to premiere on Sept. 22, the 241st anniversary of Nathan Hale’s execution.

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How to defeat ISIS, save the economy and reunite the country

By Michael Tessler

Michael Tessler

Historically speaking, the United States economy tends to thrive in wartime. Americans become patriotic when faced with a great foreign menace. In times of crisis, we tend to buy American products. Our star-spangled workforce works harder and innovates quicker. Our domestic political disagreements seem smaller when we tackle something larger than ourselves. In these moments of dire necessity, we find common purpose. Under that pretense our nation was founded and through the centuries has propelled it to unparalleled success.

Thankfully, we do not need another world war to accomplish this spirit of unity. This may all feel impossible as the gap between our political factions has never felt wider. On every issue it seems partisanship dictates idleness and/or delinquency. So how do we bridge that gap? How do we break the ice? Well the answer is simple — by protecting it.

Climate change is the key to a new era of American greatness. Now, even if you don’t believe in climate change, hear me out. Before we can proceed, please remove the term “climate change” from your mind as some abstract scientific concept. Let’s personalize it, treat it in the same fashion we’d treat any great and terrible foreign power or dictator. It helps to imagine it with an evil little mustache. Envisioning it now? Good.

This Blue Scare (yes, as in excess water) threatens our homes, our livelihoods and our way of life. If we lose this literal “Cold” War, our cities and towns could be decimated not by atomic fire but by superstorms, erosion, dust bowls and flooding. Each day we wait, the Blue Menace grows stronger, melting glaciers and capturing our territory, inch by inch.

Let us form an iron curtain around the ozone layer, protect it from further damage and economically punish those who aide in its destruction. We must establish a great coalition of all civilized nations to combat this threat in an act of global unity, all the while strengthening and cementing our role as an international leader.

This Blue Menace has allied itself with our nation’s greatest physical enemy, ISIS. Their terrorist organization wants nothing more than for us to continue to ignore this mighty faceless foe. According to the United States Treasury and Dubai-based energy analysts, ISIS receives nearly $1 to $3 million a day selling oil. Meanwhile, the United States continues to be the global leader in daily oil consumption accounting for 20 percent of all global use each and every day.

By ending our addiction to oil, we could decimate the so-called Islamic Caliphate without dropping a single bomb. Without the money from that precious resource, they would be unable to remain an effective fighting force. Our nation would no longer have to maintain alliances with false friends, who have used their swaths of oil as leverage over our current state of dependence.

Meanwhile, we can commit that all investments in green energy jobs must be American. We can hire every single unemployed American to help build a modern and green infrastructure. We will see the greatest investment in public works since President Eisenhower built the interstate highway system. We will create a new generation of energy-producing highways (yes, that’s an actual thing), new energy fueling stations, bullet trains, green appliances and the vehicles of tomorrow.

Industry will boom and the workforce will grow as we upgrade and innovate many existing products and power plants. Regardless of how one views climate change, the economic possibility is real and should not be ignored.

One of the biggest concerns I’ve heard is how will communities that produce outdated energy sources be impacted? Though the merits of “clean coal” can be debated, it is simply not a renewable resource. Our economy cannot survive or remain competitive in the 21st century using finite resources.

We cannot and will not abandon those who live in coal and oil country either. We will continue to ensure that their communities thrive by transforming them into clean energy economic hubs, providing not just new jobs, but training and tax subsidies to aide in their transition. Their concerns are genuine and have a right to be heard.

As long as the United States can be fundamentally held hostage by oil, we are at-risk. We owe it to all those who have sacrificed, to our children, born and unborn, to the ideals of America itself, to create a country that relies solely on the ingenuity of its people rather than foreign pipelines and the fuel of a bygone century.

So let’s defeat ISIS, let’s grow the economy, let’s reunite our country, let’s do something bold — we have landed a man on the moon, and with that same American tenacity, we can harness the power of the sun.

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From left, Brian Smith, Steven Uihlein, Phyllis March and Joan St. Onge in a scene from ‘Lower Education’. Photo by Peter Lanscombe, Theatre Three Productions, Inc.

By Michael Tessler

Raw, imaginative, thought-provoking and brave. Unafraid to push the envelope and tackle some of society’s most dynamic and difficult issues. At times, irresistibly funny, wildly inappropriate and enormously fun. There are so many ways to describe Theatre Three’s Festival of One-Act Plays but ultimately it comes down to this: theater at its absolute finest.

Tucked below the main stage of Theatre Three’s Athena Hall is a black box theater named after the late Ronald F. Peierls. This second stage creates a wonderfully intimate atmosphere for the audience and provides a perfect venue for all seven shows.

Since the 1998 to 1999 season, Theatre Three has received an incredible 8,000 one-act play submissions. Of those entries, it has presented 113 world premieres by 79 different playwrights. What you’re seeing really is the best of the best.

Clockwise from left, Antoine Jones, Kate Keating, Joan St. Onge and Jacqueline M. Hughes in a scene from ‘Counting Sheep’. Photo by Peter Lanscombe, Theatre Three Productions, Inc.

One-acts, for those who are not familiar, are just that — a single-act show. Often varying in length and subject matter, they are given the flexibility to tackle things playwrights would usually be unable to address with a mainstage production. In my mind, a great one-act is a lot like the center of an Oreo. They skip all the fanfare and get right to the creamy good stuff in the middle. They rely not on orchestra pits, colorful costumes or dynamic sets but rather on vigorous acting, quality writing and superb direction.

“Counting Sheep” by Jae Kramisen, “How Does It Feel to Be a Problem?” by Patrick Gabridgen, “The Kitchen Fairy” by Scott Gibson, “Lower Education” by Lewis Shilane, “A New Lease” by Tony Foster, “Upset over Nothing” by Robin Doupé and “When Driven” by Melanie Acampora all made their debut last Saturday afternoon. These writers vary in age, gender and at least one was from out-of-state.

Just prior to the premiere I had the opportunity to talk to Theatre Three actress and playwright Melanie Acampora. “I started writing three years ago” delving into the process of creating a one-act. It’s less pressure than acting,” she said. One of the hardest parts of writing a script is seeing how it’ll be adapted. When asked if she was pleased with Theatre Three’s adaption, Acampora replied,“It’s even better than in my head, thanks to Jeff [Sanzel].”

From left, Skyler Quinn Johnson and Brian Smith in a scene from ‘How Does It Feel to Be a Problem.’ Photo by Peter Lanscombe, Theatre Three Productions, Inc.

Sanzel, the festival’s founder and director of all seven shows, proves once again what enormous talent we have right here on Long Island. His skills transcend genre and are wonderfully on display — up close and personal for the whole audience to enjoy. How a person could direct so many shows while finding time to sleep is beyond me!

This emotional roller coaster will have you leaving the theater with a newfound appreciation for playwrights. Unlike the bravado of Broadway, they cannot hide behind the pomp and circumstance of massive musical numbers or high-priced sets (although I do love a good ole’ kickline).

Each show’s success depends almost solely on its craftsmanship and its cast. That being said, there was not a single actor I didn’t love during these seven performances. Many of the actors took on not just one role but several in multiple shows, displaying their incredible capabilities and range as performers.

Whether you are a theater aficionado or a first-time theatergoer, get yourself a ticket before they sell out. This wonderful experience is only on stage for a limited time. To the playwrights, my hat is off to you, brava and bravo. Hoping to see more of your work soon!

Theatre Three, 412 Main St., Port Jefferson, will present The 20th Annual Festival of One-Act Plays through April 1 at The Ronald F. Peierls Theatre on the Second Stage. Tickets are $18 per person. To order, call 631-928-9100 or visit www.theatrethree.com.

Please note: Adult content and language. Parental discretion is advised.

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Photo courtesy of Three Village School District

By Michael Tessler

Throughout our brief but impactful history, America’s protesters have accomplished quite a bit. From the Sons of Liberty dumping nearly $1.7 million worth of English tea into Boston Harbor (talk about destruction of property) to Dr. King sharing his dream during the March on Washington. Protests, petitions, walkouts and other acts of civil disobedience certainly have earned their chapter in the American story, not always for good reasons, unfortunately.

My first protest was back in 1999 at Scraggy Hill Elementary in Port Jefferson. Things, as you may remember, were a bit simpler back then. Before the advent of social media, before digital petitions and fake news blogs we were forced to have conversations with one another.

Esther Fusco, my former principal, had an office tucked away behind the school’s reception area. Inside she had an old-fashioned metal candy dispenser that only accepted pennies. Whenever you were called into her office, she made sure you got to crank out a handful of M&Ms. Between that and her famed “Star Assemblies,” there was a lot to love as a student.

Unfortunately, for reasons beyond the comprehension of a six-year-old, Dr. Fusco had her assignment changed by the school board and was no longer working in the school. When I heard she was gone, I went home and asked quite innocently, “Where’s Dr. Fusco?” That unknowingly became the rallying call for the first protest I ever participated in.

My mom, an impassioned activist for early childhood education, organized with other community members to picket, protest and attend meetings. This was an extraordinary lesson in civics for a little boy and one that I treasure to this day. You can imagine my excitement when almost 20 years later I hear about petitions circulating through Ward Melville High School. Young people were speaking up about an issue they were passionate about.

The new cap and gown style at Ward Melville High School. Photo from Three Village School District

To provide a bit of context, Ward Melville’s principal introduced a new uniformed graduation gown that combines the school’s signature green and gold. In the past, they had been separated by gender. However, with the school’s growing transgender and gender-fluid population, they wanted to adjust with the times. Naturally, there was pushback as it was altering a 50-year tradition.

What should have followed was a debate on the BEST method to preserve tradition while accommodating changing times and the needs of the student body. What actually transpired was unfortunately quite the opposite. Petitions began to grow and with them hateful comments about transgender and gay/lesbian individuals.

During a student walkout, several students held up signs saying “STRAIGHT LIVES MATTER” and imagery often associated with the former Confederate States. There’s a fundamental difference between fighting for tradition and using the guise of tradition as a means of marginalizing another group.

Here’s the unfortunate reality: 41 percent of transgender youth and 20 percent of gay/lesbian/bisexual youth will attempt suicide at some point in their lives. Just for perspective, 4.6 percent of the general population will attempt suicide. Words matter, and if you’re wondering how those numbers got to be so staggering, look no further than the comments on some of these petitions.

If someone is willing to keep something like that a secret for their whole life, if the pain of that secret is enough cause for them to take their own life, then who the heck am I to question who they are and why? We were not born wearing blue or pink. We were born human beings and being human isn’t always easy so let’s stop making it harder on each other.

Nonviolence and peaceful demonstrations remain the second greatest force of change in this country next to democracy itself. To my young friends at Ward Melville, on all sides, keep fighting for what you believe in. Do so however, while showing respect and civility. You are stewards not just of your own rights, but those of all Americans. Just remember, “Nobody’s right if everybody’s wrong.”

Seriously though, where is Dr. Fusco? If anyone sees her, please tell her Michael Tessler sends his regards. I’m 18 years overdue for some M&Ms!

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The cast of ‘Respect,’ from left, Jessica Contino, Amanda-Camille, Lori Beth Belkin and Elizabeth Ann Castrogiovanni. Photo by Peter Lanscombe, Theatre Three Productions Inc

By Michael Tessler

Let me start by saying that I don’t think I was the show’s intended audience. That being said, this became one of my favorite shows in recent memory. Theatre Three’s “Respect: A Musical Journey of Women,” a jukebox musical by Dorothy Marcic that opened this weekend, had me laughing, tapping my feet and, on two occasions, holding back tears (alas, to no avail).

Skillfully directed by Mary Powers, this truly powerful production tells not just the story of one woman or one era — but rather represents in so many ways the diversity and difficult journey toward equality experienced by all women.

Clockwise from left, Amanda-Camile, Jessica Contino, Lori Beth Belkin, Elizabeth Ann Castrogiovanni. Photo by Peter Lanscombe, Theatre Three Productions Inc

Music, as I was often reminded growing up, is a reflection of our souls and in many ways a caricature of how we view ourselves. This piece takes the most popular music of the last century and uses it to form an evocative narrative that demonstrates just how powerful music can be.

Music in its most righteous form can be used as a tool for liberation and in its worst used to reinforce oppression. Its impact, especially in American culture, has very much defined the national consciousness.

This show delves into that concept as we meet the protagonist, presumably the show’s playwright. She is a widow and entering a stage in her life where she desperately wishes to better understand herself and the women in her family. She takes it upon herself to research the most popular music of the previous century, beginning a powerful journey of self-discovery and liberation.

With musical direction by Steve McCoy, this show’s small but dynamic cast is genuinely empowering. Their harmonies are beautiful and ever-changing as the show travels through the decades. They belt out the classics and remind you of a few forgotten treasures. No matter what your taste, this show has something for you, from the mesmerizing harmonies of “Mr. Sandman” to the fierce “I Will Survive.” Lori Beth Belkin, Elizabeth Ann Castrogiovanni, Jessica Contino and Amanda-Camille shine in their performances from heartfelt soul to rock and roll.

Sari Feldman’s choreography evolves with the production, masterfully adapting with each new era. You’ll get a taste of nearly every decade, from the Charleston to the more contemporary dance moves of Britney Spears and everything in-between.

The show’s set and lighting design by Randall Parsons and Robert W. Henderson Jr. doesn’t overly complicate itself but rather compliments the cast perfectly, featuring impressive light installations that provide ample mood lighting and a screen that provides historical visuals and points of reference throughout the show — great embellishments to an already great performance.

“Respect” is an incredible spectacle that transports the viewer through time using the power of music. Theatre Three’s matinee audience was the most lively I’ve ever seen. Viewers young and old found themselves clapping and resisting the urge to sing along.

All of Athena Hall was captivated by nostalgia and the beautiful sounds produced by this enormously talented cast and on-stage pit. Personalities of the past returned to life with brief flashes of Rosa Parks, Robert Kennedy, Marilyn Monroe, Betty Boop, Scarlett O’Hara and so many others.

This musical shouldn’t just be watched by those who find comfort in the nostalgic sounds of their youth, but by the men and women of today who will leave the theater with a new found appreciation for all the progress we’ve made and the work still left to do. This show is empowering, humbling, emotional, hysterical and wonderfully refreshing. For me, it was the surprise treat of the season!

Theatre Three, 412 Main St., Port Jefferson will present “Respect: A Musical Journey of Women” on the Mainstage through March 25. Tickets are $35 adults, $28 seniors and students, $20 ages 5 to 12. Children under 5 not permitted. Wednesday matinee $20. To order, call 631-928-9100 or visit www.theatrethree.com.

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By Michael Tessler

Michael Tessler

My great-grandfather Louis arrived at Ellis Island at the onset of the Great War. He grew up in the predominantly Jewish community of Sighet. This small region of Hungary (now Romania) had been occupied and reoccupied by many countries throughout the 20th century. Sighet, however, remained largely the same. Its tight Jewish community maintained its traditions, history and, most importantly, faith.

Louis’ family sent him away in fear he would be drafted into the brewing conflict. So with what money he had, he traveled 1,000 miles from Hungary to the bustling port of Hamburg in Germany. One can only imagine how dangerous that trip must have been — navigating Europe as it began to rip at the seams. He survived though and boarded a ship destined for the promised land of America.

Like so many before him he arrived in New York City. Even as I write this, I smile at the thought of his first gaze upon the Statue of Liberty. At the time, just another face among the huddled masses … to me, the very reason I exist.

Assimilation wasn’t easy. He ended up marrying a woman from the same village and they started a family together. Their child Sam was a tremendous source of brightness in an otherwise unforgiving city.

Above, back row, from left, Pauline, Irene, Louis; front row, from left, Melvin and Max, circa 1929. Photo courtesy of the Tessler family

Louis’ family kept him going. He worked long and painful hours for a fur company in Manhattan. Before unions, before labor laws and before regulations — he inhaled dangerous chemicals daily as he dyed the fur, leaving him with chronic health problems.

His American Dream devolved quickly though as his home was consumed by a fire and with it his wife and only child. One can only imagine his dread. Thousands upon thousands of miles away from his only remaining family, he committed himself to rebuilding his life, and by extension, creating mine.

Louis remarried and had two children with my great-grandmother ­— my grandpa, Melvin Tessler and his brother Max. They grew up on Riverside Drive, both lovers of the city’s growing jazz scene.

Through an unfortunate reality, my great-grandfather wasn’t wanted in this country. Many anti-Semites peddled Jewish conspiracies, believing them to be an enormous danger to American society. When my grandfather was a little boy, Louis took him to work at the fur factory so his son could see what he did. His boss, however, hated the Jews and made a point of humiliating my great-grandfather in front of his son. He never took him to the factory again.

Though Louis was sent to America to be saved from joining a global conflict, it was a painful irony that both his sons were drafted into the army and became American soldiers in World War II.

Mel Tessler while serving in the US Army during WWII. Photo courtesy of the Tessler family

My grandfather Mel served proudly in Europe, where he developed trench foot, almost losing his feet to rot. Around his neck he wore the Star of David, his dog tags and a pillbox containing cyanide tablets in the event he was captured by the Nazis, knowing full well he’d be tortured for information if they knew of his Jewish ancestry. His brother Max served in North Africa where he contracted a malaria type disease. These young boys, the sons of refugee immigrants, served a nation that just a generation prior had not welcomed their father.

My Grandpa Mel would go on to become the head of the English Department at Port Jefferson High School and married my Grandma Sally, a teacher at Scraggy Hill Elementary. No doubt some of my readers had them as teachers.

In his class, he’d have the students read the book “Night” by Elie Wiesel, a celebrated Holocaust survivor who dedicated his life to serving humanity. Several years ago I had the great fortune of being invited to the United Nations, where I heard Mr. Wiesel speak. In the halls of the General Assembly his voice echoed “never again.” It was more than just a phrase but a perpetual call to action, one that we are all responsible to heed. I’ve taken that to heart.

What I did not know at the time was that Elie Wiesel and I shared something in common. He too was from Sighet, my ancestral home. In 1944, the Third Reich occupied Hungary and decimated its Jewish population, first by forcing them into ghettos and then eventually to the concentration camp of Auschwitz. Whatever family remained perished there during the Final Solution.

Whether by gas chamber in Auschwitz or by sniper fire in Aleppo … murder is still murder and is equal in the eyes of God. No man is greater than the other just because of their faith or any more deserving of our compassion. No civilized society, especially one built on the principles of “life, liberty, and the pursuit of happiness” can remain ignorant of the world at large. To do so undermines not just our nation’s values but the essence of our humanity itself.

We cannot forget that our complacency, and more precisely, our fear, allowed countless innocents to die as waves of Jewish refugees were turned away from the United States. We must show bravery like those who risked their lives to hide Jewish families in their basements. If we are so scared that we are unable to help, then we have already lost, for without humanity we are nothing.

Had America not welcomed in my great-grandfather all those years ago, he too would be in the huddled masses lying dead outside Auschwitz. Do not forget, history has its eyes on you.

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