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Rita J. Egan

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Susan Deaver will conduct the Stony Brook University Orchestra on Feb. 28. Photo from SBU

By Rita J. Egan

The musicians of the Stony Brook University Orchestra, consisting of 70 undergraduate students, are tuning up their instruments. On Feb. 28 at the Staller Center, they will present their Annual Family Orchestra Concert, The Magic of Music, featuring pianist Emily Ramonetti, winner of the school’s 2016 Pre-College Concerto Competition.

Previously called the Annual Family Concert, university conductor Susan Deaver said this year the word “orchestra” was added to the title of the event so those attending will have a better understanding of the type of music featured in the show when purchasing tickets. Deaver said the one-hour concert includes short pieces and is a great way to introduce orchestral music to children who may be attending this type of performance for the first time. She also does her best to choose music that people of all ages will enjoy, and priced at $5, tickets are affordable so everyone in the family can easily attend.

Northport High School senior Emily Ramonetti will be the featured pianist at the concert. Photo from SBU

The conductor said the focus on shorter pieces allows the orchestra to demonstrate a variety of numbers from various composers from different countries as well as centuries. Plus, during the show each of the sections — woodwinds, strings, brass and percussion — are featured. The hope is for the audience to get a well-rounded orchestral experience. “They get the maximum amount and variety of orchestra music in one hour as possible,” Deaver said.

Mozart’s Overture to the “Magic Flute,” which will be performed on Feb. 28, influenced this year’s theme, The Magic of Music, according to the conductor. “Always, music has some magic to it. It’s such a universal language. Something is, I think, so magical and wonderful about the sounds of the music and instruments of an orchestra,” Deaver said.

The concert will include Saint-Saens’ “Danse Bacchanale” and a tribute to Leonard Bernstein with selections from “West Side Story,” according to Deaver. She said the concert will open with “Festival Prelude” composed by Alfred Reed. “It’s brilliant orchestration. It’s short, it’s just a perfect opener,” the conductor said.

Deaver’s wish for the annual event is that everyone in attendance from the young children to the grandparents will gain a greater appreciation for orchestral and classical music. During the concerts, the conductor said she and the orchestra members always interact with the audience by asking them questions in hopes that they will feel more involved with the show. “I think it helps them break down any sort of barriers, because they feel part of the concert, too, because they are,” she said.

As for featured pianist, Ramonetti will be playing the 1st movement of Shostakovich’s Piano Concerto No. 2. A member of the university’s pre-college program since 10th grade, she won the 2016 Stony Brook University Pre-College Concerto Competition right before Thanksgiving. Deaver said at the competition the young pianist “was very well prepared, very musical.”

The senior at Northport High School has fit right in with the orchestra during rehearsals. “She’s been great. She’s a very mature, musically prepared musician. She already had it memorized from the competition, so then when she came to rehearsal, she fit in right way. She did really great. So it’s been our pleasure to work with her,” the conductor said.

Ramonetti, who has studied piano since she was three years old, said she realized she had a passion for music in fifth grade when the theme of the school’s yearbook was “We Dream Big.” “My dream that I put in the yearbook was to be a performer and travel around the world,” she said.

The pianist, who is also a violinist and composer, is enjoying rehearsing with the orchestra, and while in the past she has participated in performances, including playing background parts for her school orchestra, she admits that rehearsing with the college ensemble is different. “It’s definitely a much bigger sound than just rehearsing with a second piano,” she said.

Her performance piece was featured in the Disney classic “Fantasia,” and she explained that Shostakovich composed it in the 20th century. “It’s very, very difficult, very virtuosic,” she said. The teenager is looking forward to performing with the orchestra and presenting the concerto to the audience. “I hope they’ll see how much I love this piece, and how much I love performing it with this orchestra,” Ramonetti said.

Stony Brook University’s Staller Center for the Arts, 100 Nicolls Road, Stony Brook will present The Magic of Music on Tuesday, Feb. 28 at 7:30 p.m. on the Main Stage. Tickets are $5 for all ages and are on sale at the center’s box office, 631-632-ARTS (2787). For more information about the University Orchestra, visit www.stonybrook.edu/music or call 631-632-7330.

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Above, from left, Ryan G. Dunkin, Peter Simon Hilton, Noah Bridgestock, Spencer Glass and Milton Craig Nealy

By Rita J. Egan

The John W. Engeman Theater at Northport exposed a night of adult fun this past Saturday when it held the press opening of “The Full Monty,” its current mainstage production. Judging by the applause, laughter and howling coming from the audience, the musical, directed by Keith Andrews, will be another huge hit for the theater.

Based on the 1997 movie of the same name, the story takes six men on an adventure where they hold nothing back, emotionally or physically. Featuring a book by Terrance McNally with score and lyrics by David Yazbek, “The Full Monty” introduces theatergoers to two unemployed steelworkers from Buffalo, Jerry and Dave, who decide to organize and perform in a strip act after seeing local women go crazy for a Chippendales-inspired show. Even though they look nothing like strippers, they soon join forces with their former co-workers Malcolm and Harold and hold auditions for two more dancers where they meet Horse and Ethan and form Hot Metal.

From left, Brent Michael DiRoma and Ryan G. Dunkin in a scene from ‘The Full Monty’

While a few characters’ names differ from the film, and the location has been changed from the movie’s Sheffield, England, to Buffalo, New York, the musical is still filled with something everyone can identify with whether unemployment, divorce, relationship problems, body issues or even the caring of an ailing parent.

And like the movie, even though the men working together to overcome their anxieties and self-consciousness creates a few serious and tender moments, overall it is told with a great deal of humor both in dialogue and lyrics. It’s a tale that leaves audience members not only cheering for the characters but also exiting the theater feeling uplifted.

“The Full Monty” opens with a high-energy scene where the woman are enjoying a girls’ night out. The story soon switches to the men at the union hall, and the number “Scrap” let’s the audience know there are serious matters to be dealt with and money needed.

Throughout the musical, Brent Michael DiRoma (Jerry) and Ryan G. Dunkin (Dave) are a terrific duo easily handling delicate matters with well-timed humor. The two are at their best during Act One’s hysterical number “Big Ass Rock” where they try to discourage Malcolm from committing suicide by showing him the ridiculousness of different scenarios. Spencer Glass as Malcolm soon joins in on the number, ecstatic that he may actually have friends, leaving the audience laughing uncontrollably.

From left, Spencer Glass and Brent Michael DiRoma in a scene from ‘The Full Monty’. Photo by Michael DeCristofaro

Peter Simon Hilton, who plays Harold a former supervisor hiding his unemployed status from his wife, captures the character’s nervousness perfectly and easily plays straight man to the others. He and Dunkin also reveal impressive vocals on the sweet number “You Rule My World,” where Harold wonders how he will tell his wife about his situation, and Dave ponders if he’ll ever lose the weight, particularly his stomach, that rules his life.

Noah Bridgestock is adorable as the young stud Ethan and exhibits great physical comedic ability, but it’s Milton Craig Nealy as Horse, during the number “Big Black Man,” who shows all the young men how it’s done with strong vocals and slick dance moves that delighted the Saturday night audience.

During the number “Michael Jordan’s Ball,” the men perform seamlessly together providing a catchy, standout number at the end of Act One. Another stellar performance by one of the male performers is “You Walk With Me” during the second act. While Glass nails the awkwardness of his character Malcolm, the tenor shines during this moving number, and toward the end of the song, Bridgestock joins him and complements his fellow actor nicely. “Breeze Off the River” sung beautifully by Diroma is another touching number during the second half of the musical.

While “The Full Monty” focuses on the six men, the female cast members cannot be ignored. Diane Findlay as Jeanette Burmeister, the men’s pianist, is a delightful surprise. She delivers her lines with the comedic ability of greats such as Phyllis Diller and Joan Rivers, and during “Jeanette’s Showbiz Number,” performs with the skill of a Broadway professional.

Diane Findlay and Ryan G. Dunkin in a scene from ‘The Full Monty.’ Photo by Michael DeCristofaro

During Act 2, Nicole Hale as Dave’s wife, Georgie, and Gaelen Gilliland as Harold’s wife, Vicki, beautifully execute the reprise of “You Rule My World.” Kate Marshall, playing Jerry’s ex-wife Pam, skillfully balances strength and gentleness of a woman who is trying her best to move on while co-parenting with her ex.

Suzanne Mason, Jennifer Collester Tully and Lexi Lyric add to the humor as they hilariously bring to life the joys of working women just wanting to have some fun. Vincent Ortega also adds to the high jinks as club owner Tony Giordano, the Cha Cha teacher and a random jogger.

It should also be noted that Kyle Wolf is sweet and endearing as Jerry’s son Nathan. James D. Schultz garnered tons of laughs when he performed an awkward semi strip tease act during the dancer auditions, and Alexander Molina as Buddy “Keno” Walsh, the professional stripper, handled his egotistical character with a tongue-in-cheek performance as well as some dance moves that delighted the ladies in the audience.

“The Full Monty” leaves the best for last with the men’s anticipated performance and the catchy “Let It Go.” The cast and crew tastefully orchestrated the last scene, which left those in attendance howling with laughter but not too red from blushing. The show is perfect for a pleasurable night out with the girls or even date night, but leave the children home due to some adult language and partial nudity.

The John Engeman Theater, 250 Main Street, Northport, will present “The Full Monty” through March 5. Tickets range from $71 to $76. To order, call 631-261-2900 or visit www.engemantheater.com.

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From left, Alan Inkles, Lee Wilkof, Director, ‘No Pay, No Nudity’; Ryan Lacen and Anthony Baldino, co-directors of ‘The Dust Storm’; and actor Ralph Macchio at last year’s Stony Brook Film Festival. Photo courtesy of Staller Center for the Arts

By Rita J. Egan

When Alan Inkles, director of the Staller Center for the Arts, moved from Brooklyn to Port Jefferson Station at the age of 11, the stage was being set for him to one day play an integral part in creating an impressive cultural and arts community right here on Long Island.

After graduating from Comsewogue High School, he headed out to Los Angeles to play soccer and study acting. After discovering he wasn’t cut out for college sports, he seized the opportunity to concentrate on the craft of acting and honed his talents working on commercials and pilots. Fortunately, for Long Islanders, he soon returned to New York and enrolled at Stony Brook University, earning his bachelor’s and master’s degrees in theater arts.

The founder of the Stony Brook Film Festival, his loyalty to the university has paid off for local residents who can attend high-quality shows just minutes away from their own homes. His success is a combination of meeting the needs of performers, being open to the opinions of audience members and appreciating his hard-working team, generous sponsors and the university’s supportive administration.

Recently, while nursing the flu and screening movies for the upcoming annual film festival, the director, who has brought the likes of Ray Charles, Harry Belafonte, Patti LuPone and more to the center, took time to answer a few questions about his stellar career.

Alan Inkles with Broadway star Kelli O’Hara who performed at the Staller Center on Dec. 10 of last year. Photo courtesy of the Staller Center

How long have you been the director of the Staller Center, and how did you get the job there?

I injured my knee while performing in 1983, and I had just graduated from Stony Brook and had worked as a student for the Fine Arts Center [the original name of Staller Center] during my years. And, as I couldn’t perform with my injury for a while, I asked the director of the center, Terry Netter, if he could use a theater manager — which I had done as a student. He hired me and at least seven titles later and an International Theatre Festival that I created — what really kept me interested in the early years — and  beginning to do all the programming in 1992, I took over as director upon Terry’s retirement in 1995. So, I guess officially I’ve been the director for 21 years.

You have a long history with Stony Brook University. What do you love about it?

What don’t I love about Stony Brook University? I did my undergraduate and graduate studies here. Two of my three kids and my son-in-law graduated from here, and I’ve been here as an employee and student for almost 37 years. I’ve enjoyed working for three presidents and almost a dozen provosts — permanent and acting ones, have made numerous friends with faculty, staff over the years, and have the greatest staff anyone could dream of having — some of which have been with me for my entire time as director. I love the energy of the students, the challenges that a public university continues to throw my way and the amazing ambiance of a continually growing and improving university. Stony Brook is about its amazing people, and I’ve been fortunate to be a member of this great collegial community for so long.

You’ve been credited with making the center what it is today. How did you go about that?

I guess longevity allows that to work. My predecessor Terry Netter opened the Staller Center back in 1976, 1977. It was a different time. You know back in those days the center was really more for the university, supporting the music department, the theater department, which we still do, and they did a couple of ballets and orchestras.

Early on when I started getting the itch, Terry asked to me to start programming. It was growing pains because I wanted to do more jazz and pop and children’s programs, because that’s what I saw we needed to do, because it was a different era. The arts centers of the 1960s and ’70s doing orchestras and ballets were great, and we continued to do them, but we needed to diversify. We needed to get broader. So, he really gave me a lot of leeway to go out and try to find these programs, and I liked the challenge.

What does it take to coordinate all the events the Staller Center presents during a year?

A great team. I can go to a conference, and I come back, and yesterday while being home laying in a bed (recovering from the flu), call my team up and say we’re booking Peter Cincotti. And, within 24 hours, we got a press release, the website, an email, the machine ready on social media, my production team going through the rider knowing exactly what we need so that I was able to approve it because there’s certain needs we have to get for the show. All this happens in 24 hours. I’m not so sure Live Nation could even pull it off in 24 hours!

So it starts with a great team, the confidence that I have the support of my provost (we have a new one this year, Michael Bernstein, who is really great) and a president who basically said to me, the third one I have worked for, “You raise the money, you bring in the audience, you got carte blanche.”

In addition to the performances at the center, you also coordinate the Stony Brook Film Festival. What does preparing for that entail?

Fortunately, over the years my contract administrator, my associate, Kent Marks, has taken on a good chunk of that. He’s great, and my staff have also helped pre-screen a lot of the movies. In the early days, I admit I watched everything. In the first 15, 16 years of the festival I was watching all 400 to 600 films coming in and picking 40. In the last five years we have had over 3,000 films coming in each year.

What have been your favorite personal accomplishments since being director of the center?

That’s an interesting question as I don’t think I’ve really given much thought to personal accomplishments. I’ve really always tried to focus on bringing quality programs in the arts to our faculty, staff, students and community over the years and always have tried to secure excellence and try to both entertain and enlighten our audiences and occasionally challenge them. Personally, I felt a great accomplishment in pulling off a 10-year run of a major International Theatre Festival early on in my career, and when I think back to my first trip to Sundance in 1999, and thinking about how little I knew about film festivals, I certainly am very proud of the fact that we have created a significant and lasting annual festival that grows every year in importance, quality and attendance. I’ve watched dozens of branded festivals in recent years dissolve as we gain strength.

I would also be remiss if I didn’t beam about the Outreach & Education program my staff and I have built. With just an idea over a decade ago to significantly reach out to communities and young people on Long Island, we now provide hundreds of programs at Staller and in our communities and serve several thousands of individuals who may not have had the opportunity to partake in the arts with workshops, school/library performances and complimentary Staller tickets. This is, of course, important for the future of the arts, and I am very proud of this growing and important part of our operation.

What are your plans for the Staller Center’s future?

I spent a great deal of time last weekend at the annual arts center/producer/ talent booking conference discussing with agents and artists and colleagues that we need to be creative, daring and also listen to our audience going forward. This digital era provides so much entertainment for people where they never need to leave their homes or their phones. We have to find ways through unique, different and exciting programs in the arts — theater, music, art and film — to take people away from their own arts centers —their 70-inch screen TVs.

It means continuing to be relevant so that corporate and private individuals will support us so we can bring these exciting programs to our campus and community, continue to keep the prices reasonable and make them available to all. I can promise you, I will continue to search far and wide for these live programs and films and continue to ask before I book something, “Is this something my audience needs to see?” That line has replaced the line that used to be, “What do they want to see?” And, when I stop asking that question and feel I can’t lift that proverbial rock any higher to find that program, I’ll know it’s time to pass on the baton. Fortunately, I don’t see that time coming too soon, and I’m also so grateful that my staff seems to want to keep me around a bit longer as well!

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St. James author puts heart and soul in her first novel

Reviewed by Rita J. Egan

After 10 years of journaling, St. James resident, Cece Gardenia, recently published her first book, “Bringing the Inside Out: Peeling Away the Emotional Layers to Self Acceptance.” The fictional story based on her life centers around polio survivor Colette Aliamo, who throughout her life carries both physical scars as well as emotional ones from her disease and complicated relationships.

Cece Gardenia

In the book, Gardenia invites readers into the heart and soul of Colette who was diagnosed with spinal polio at 22 months in the 1950s. For a few years, the young child was required to use a brace and crutches and was in and out of the hospital until she was 11 years old.

The author delves honestly into the feelings of insecurities and anxiety that she was left with after beating the disease and the dynamics of relationships with family, romantic partners as well as others. Gardenia, who uses a pen name, hopes that readers will find their own path to wholeness, peace and joyfulness after reading her first literary venture. For anyone who has faced adversity in their life, they will easily relate to Colette’s battles with insecurity and anxiety that plagued her in life.

Recently, Gardenia took time to answer a few questions about her book via email.

What made you write this book based on your life experiences?

To offer the reader the idea that no matter what their struggles are, perseverance and the belief that their life can be altered for the best. I have gotten a tremendous amount of feedback from readers that say the story resonated for them and has put their challenges in perspective. Many can’t even imagine a child having polio nowadays. How do you explain what it was like for you as a child suffering from the disease? I felt frightened, isolated, deserted, lonely and often not physically well.

Describe the main character, Colette Aliamo?

Despite the hardships and feeling broken most of her life, she is a force of strength and defiance and is relentless in her beliefs to be true to herself, regardless of the consequences.

In your book, you discuss loss and fear but you also talk about healing and acceptance. What advice would you give those going through tough times?

Be strong in your beliefs and follow your true north. When you are authentic, you will never harbor regrets or guilt.

Was there anything you discovered about yourself while writing this book?

I realized how resilient I was, and how much more I healed than I initially thought.

You also write in the book how Colette learned from “The Oprah Winfrey Show” that she had the “disease to please” syndrome. How did you overcome worrying about what everyone thought?  

It was learning to believe in myself through my experiences of wellness. Once I conducted myself in a positive vein, I noticed a transformation, not only of confidence but I earned the respect of others. I don’t know if I could have done it alone however. Being medicated has allowed me to be the person I always wanted to be. I am still myself but a more whole person.

How did you come to the decision to take medication for depression?

After many efforts and paths taken to find a way to alleviate my depression, I exhausted my options and took the advice of my friend.

However, you don’t rely entirely on medication. What other things do you do to treat your anxiety and depression?

I did find in the end that I did not have coping mechanisms to rise above my condition and knew that medicating myself was the only alternative left. There are times if I am overly stressed I feel a shift in my well-being. Along with the medication, I resort to yoga (deep breathing) and being present and mindful in the moment enough to overcome my anxiety.

I understand that the painting of the little girl on the cover is of you. Tell me the story behind it.

I had a photo of myself that had been taken when I was a little girl which I wanted to use for the cover, but the publisher would not let me use that because they thought the professional photographer might still be alive 66 years later and would have an issue with it. I hunted for other photos but none reflected what this photo did for me. It depicted my strength and defiance, as if I was telling the photographer, “Go ahead, take my picture!”

I was despondent and my husband tried to comfort me, but there was no answer to the dilemma. We went to bed that night, but I was awoken at dawn’s break by my husband. I asked him, ”What are you doing?” He said, “I am looking for your photo.” With a limp hand I pointed to the armoire and went back to sleep. That morning I found the photo of me on the kitchen table and right next to it was a painting of that image that my husband had copied. A gift of love.

Do you have any future plans to write more books?

I’m considering the idea but don’t want to work on something unless it’s something I think is worthy.

Is there a website where people can visit to find out more about you and “Bringing the Inside Out”?  

There is a web page under the name Cece Gardenia but no blog is set up as of yet (www.cecegardenia.com). The better access is through my Facebook page, Bringing the Inside Out, Peeling Away the Emotional Layers to Self Respect by Cece Gardenia.

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Reviewed by Rita J. Egan

When Richard Specht lost his son Richard Edwin-Ehmer (Rees) in a tragic drowning accident in 2012, he asked his aunt for advice on how to deal with the insurmountable pain. Having lost two children of her own, she told him he could let the pain consume him, or he could transcend it and find something to keep the darkness at bay. When he and his wife Samantha discovered that those who offered help during their time of need wouldn’t allow the couple to do anything in return for them, the Spechts decided to take the aunt’s advice to heart.

The couple began performing small acts of kindness for others and set out on a mission to honor their son by making the world a better place. Their efforts soon turned into the ReesSpecht Life Foundation, a nonprofit organization that promotes the importance of compassion and respect. The foundation has become known for its ReesSpecht Life cards that are used by those who perform random acts of kindness to pass on to the receiver in hopes that they will turn around and also carry out a kind act.

Rees Specht

The success of the foundation inspired Richard to leave teaching in 2015 and travel to schools with his presentation Cultivate Kindness. His hope is to teach youngsters the importance of compassion and deliver an important anti-bullying message to them as well.

When talking to children in grades K to 2, he uses the first book he has written, “A Little Rees Specht Cultivates Kindness.” Specht said he encountered many road blocks when he first approached publishers, but he eventually self-published it in 2014. The result of his determination is the heartwarming story of a little boy who performs one kind act that plants a seed that cultivates a chain reaction of compassion in his community. Complemented with vibrant illustrations by Adam D. Smith, the book is one that will teach children a valuable lesson in a delightful way and even inspire adults to stop and lend a helping hand.

To date the book, which is sold exclusively through the foundation, has sold over 10,000 copies and all proceeds go to fund the nonprofit’s scholarship fund. Recently, Specht answered a few questions about the book via email.

The main character in “A Little Rees Specht Cultivates Kindness” is based on your son who died tragically. How do you describe Rees to people?

This is a tough question because we only had 22 months with Rees. What 22-month-old isn’t sweet, loving, mischievous and full of energy? Rees was all of these things with every new day revealing a little more about him to us. When I wrote the book, I took those qualities I saw in him and tried to project what I felt Rees would be when he reached the age of the character in my book. The Rees in the book is the manifestation of the little boy I always envisioned him to be.

The book is an extension of your ReesSpecht Life movement. What does your organization do and how did it start?

The formation of the ReesSpecht Life Foundation is very similar to the concept of the book: It started with a little idea, a seed that kept growing with each kind act my family and I received in the wake of Rees’ death. My wife and I wanted to repay those acts of kindness, and no one would let us. We felt this obligation to do more than simply say “thank you” and grew frustrated that no one would let us pay them back. So, instead of paying people back, we decided to “pay it forward.”

The idea was to do 500 random acts of kindness and give each recipient a “ReesSpecht Life” card that had Rees’ caricature on the front and a little about his story on the back. We didn’t expect that once people received the cards they would want their own. Before we knew it, people were ordering cards from us, and we very quickly went through those 500 cards. That was almost four years ago.

Today, we have distributed 395,000 cards to every continent on Earth. In addition to the cards, the foundation now provides $1,000 scholarships for graduating high school seniors who show a commitment to kindness, grants for teachers to incorporate kindness into their lessons, meals and sundries for families suffering hardship, and we perform school assemblies to grades K to 12 to remind students of the importance of kindness.

What made you decide to write the book, and how would you describe it to those who haven’t read it yet?

Believe it or not, the idea for the story actually came about because of a problem we had with our original logo for the foundation. The first 20,000 cards we printed had a picture of Rees dressed like Superman on the front. We were informed that using the image of Superman, regardless of who was in the costume, was a trademark infringement and could cause legal issues.  We were devastated by this, and I struggled with how I could come up with a new logo that so perfectly fit our mission like the “Superman Rees” picture did. Then, out of the blue, the idea hit me: Rees loved tractors. It was one of the very few words he could use, and every time he saw one he would get excited and yell out “TRAKTA!!!” So, I realized that should be the focus.

The new logo was developed with Rees riding a tractor called Trakta, and the back-story just flowed from there. Rees, driving on Trakta, would cultivate kindness just like a farmer cultivates his crop. People responded so positively to the new logo that I realized there was something more there and I wrote the outline of a story focusing on Rees who discovers that kindness, just like the seeds he plants, can only grow if you do the things necessary to cultivate it. The book takes this idea that every kind act we do helps that “seed of kindness” grow. As the story progresses, we witness each kind act causing that seed to grow.

You use the book in your K to 2 presentations. What kind of feedback have you gotten from the children about the book?

The book is the backbone of our K to 2 presentations. I actually learned how to do 2D animation and developed an animated version of the book with sound effects that I use. When I present it, the children in the audience get to follow along as each kind act helps the seed of kindness to grow. There is nothing like hearing 200 5- to 8-year-olds exclaiming in unison, “grow seed grow!” Children seem to love it as they get to see that seed grow with each kind act.

In the book, Rees encounters other children. Are they based on people that were in his life?

Actually, the children in the book are indeed based off of real children, but they are not children Rees knew in his lifetime — but I hope he knows them now. All of the children in the book are actually based off the real life child-angels from parents who shared our pain and helped us through this difficult journey. Their particular stories in the book are actually based on their real life personalities and interests. For instance, the reason Kaylee is dressed similar to Dorothy from “The Wizard of Oz” is because that was her favorite movie. The same holds true for each of the children in the book.

Is this your first book? How long did it take to develop? 

Yes, this is the first book I have ever written. I actually wrote the outline for the story over the course of several nights while on a family vacation in Berlin, Germany. When we got home, I started writing the actual book right away. It took me about two months to get the story completed. Since I couldn’t draw, I wrote the book more like a novel, describing every scene as well as the dialogue. Once that was completed, I handed off the book to my illustrator Adam, who took my descriptions and turned them into the pictures you see in the book. All in all, the process took about 10 months from concept to our first printed copy.

Do you plan to write any more books in the future?

Originally, I had no concrete plans for any sequels. That changed when I got a call from a pair of Hollywood producers who got a copy of the book and asked me if I was interested in turning the ideas from the book into an animated series. They asked me if I had ideas for further stories, and I told them, “Of course!” They asked me if I could send them those ideas, and I got right to work developing a series of stories that build on the original premise of the first book.

Before I knew it, I had around 14 stories that would serve as the outline for the TV series, as well as my books. As of now, I have two more books completely written, and I am getting ready to send them to Adam for illustration.  In addition to those two books, I just completed the script for the pilot episode of the TV series, which is its own, stand-alone, story.

For more information about “A Little Rees Specht Cultivates Kindness,” the ReesSpecht Life Foundation, and its school programs, visit www.reesspechtlife.com or www.cultivatekindness.org.

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By Rita J. Egan

The staff at Theatre Three is making sure audiences and cast members won’t be “Singin’ in the Rain” inside their over 150-year-old building with their ongoing campaign, Raise the Roof. The fund will help repair the structure’s aging roof, which, when wet weather arrives, sometimes leaks rain into various parts of the structure.

Douglas Quattrock, director of development and group sales and special events coordinator, said the damage to the roof has occurred over the years, and whether it leaks depends on the type of rain. “Sometimes we get a heavy driving rain and there’s nothing because it’s moving so fast. And then, sometimes when it just rains steadily over a few days, it just all of a sudden seeps in and finds its way down into the lobby area, over the lighting board, and there have even been times it’s in back of the stage, on the stage,” he said. The theater, which was built in the 1860s, was utilized at first as a town meeting hall, even though it wasn’t owned by the town, according to Quattrock.

Originally named Athena Hall, events such as political rallies, school graduations and performances were held there, and it was even used as a roller skating rink at one point when the floor was flat, with folding chairs that could easily be removed. Quattrock said the building during the early years had a balcony as well as a machine shop downstairs. The shop was where Fred Griswold invented the film splicer that was used in motion films until digital became the norm, and Thomas Edison came to the theater and showed the first film on the island there.

The director of development has been with the theater since 1982, and he said he doesn’t remember the roof ever being replaced. From what Quattrock has been told, the average roof should be replaced every 25 years. “It’s been patched and re-patched so many times over the years. We’re just putting Band-Aids on the Titantic,” he said.

According to Quattrock, there have been times when the water has leaked into the recently constructed handicap bathroom, and because water has seeped in over the lighting board, they have hung plastic on the ceiling in that area. He said structural damage has already occurred in the attic and on the roof, and future damage could range from simply aesthetic to mold problems, including in the main part of the building.

The biggest donations to repair the roof are collected at performances, but theatergoers can also send contributions through the website. When donating, one can specify that he or she wants the money to go directly to the roof. So far, the community theater has managed to collect approximately $15,000, but they still have a large amount to raise, as the theater has received estimates between $40,000 and $60,000 to repair the roof.

Quattrock said donors giving specifically to the roof are a big help to the theater, as they don’t want to increase their ticket prices to cover the expense. He said while maintenance of the historical building is important, the not-for-profit tries to keep their ticket prices reasonable for the community so they can continue enjoying the programming at the theater. “When we have to divert our funds to these huge projects, we don’t want to let it affect the money that we have to put into keeping our productions at the quality that our customers expect,” Quattrock said.

For information on how you can help Theatre Three Raise the Roof, call 631-928-9100 or visit www.theatrethree.com.

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Eddie K. Wright, right, with his sister Mimi and son Drew.

Reviewed by Rita J. Egan

Growing up in the primarily Caucasian town of Smithtown, Eddie K. Wright, the son of a white mother and black father, never felt like he fit in with the other children. By his teen years, he began to have run-ins with the law, and a few weeks shy of his 18th birthday, he became a father when his girlfriend gave birth to his son Drew.

eddies-book-coverDespite a troubled youth, Wright reveals in his first book, “Voice for the Silent Fathers,” that his toughest obstacle in life so far was accepting the fact that his son was gay. Now 12 years into a 45-year sentence for conspiracy to distribute drugs, the author has spent the last few years using his time in prison to work on his issues and relationship with his son by writing. Due to the experience, which he describes as emotionally therapeutic, many of his fellow inmates have dubbed him “Gangster Turned Guru.”

A few months ago, Wright released his book in the hopes that it will inspire fathers like him to strengthen their bond with their children and accept them for exactly who they are. The writer is raw and transparent as he discusses his former no-son-of-mine attitude, and the book invites readers into the mind of a father trying to understand his son’s homosexuality.

I recently had the opportunity to speak with Wright via email about his new book.

Tell us about your background, and how you earned the title, ‘Gangster Turned Guru.’ 

I’ve been in trouble with the law since my youth, doing months in county jail, graduating to a four-year prison bid and ultimately being sentenced by the Feds, where I got my “head knocked off” with all these mandatory minimums. But, it was my wake-up call. I changed my street gangster mentality because that was what was constantly bringing turmoil and stress to my life experience.

Once I began to live a spiritual way of life, I gained an internal peace within, and of course, being in prison everyone wants to know what it is that kept me so positive and optimistic with life. Through the years, I’ve always been spiritually mentoring everyone and with teaching yoga, what started jokingly as calling me the Guru, just stuck, because a Guru is one who guides you on your own spiritual path.

Can you summarize the book? 

Being the father of a gay son is a taboo topic that’s never discussed. Most fathers won’t even admit they have a gay son, much less show loving support. I describe how I overcame my no-son-of-mine mentality to come to totally accepting who my son is, because my responsibilities as a father didn’t change just because my son is gay.

What made you decide to write about the struggle you had when you were younger with accepting your son’s homosexuality?

This book was needed for my son to read to understand what I was going through; why I made so many of the mistakes that I did as a young father. I was lost and confused because you never really heard of or seen fathers accepting their gay sons, most of the time they abandon them. It’s not because they don’t love them, it’s that their fears and anger are overshadowing that love. I wrote my story to be able to help others, fathers, in particular, to know what it means to love unconditionally.

Your relationship with your son is a strong one today. What do you think are the key ingredients to maintaining a great relationship with your child, even when your lives didn’t play out as you had planned?

The key ingredient is loving unconditionally and repeating the Serenity prayer whenever I needed, which was often. Being open and honest with my son has meant a lot for us both. It was OK for me to tell him, “I don’t understand your lifestyle but I don’t have to because I still love you.”

When you told family members and friends about the subject of the book, did anyone object? 

None of my family objected, but it was more of a shock from a few friends, because again, for a father to even admit to having a gay son is a surprise. Writing a book and telling the world, there weren’t objections, just praise for my courage for doing it.

Your sister Mimi Wright helped you self-publish the book. Can you give new writers any insight on how to get their book published?

I’ll have to go into my Guru mode on this question because we all have limitless potential, and as long as you keep your mind focused, the Universe will draw everything needed to make it happen. Just keep writing; building your social media platform and posting samples of what you write. Live as if you’re already signed to a major publisher.

I write like I have a deadline to meet that I’m under contract for. Act as if and it will become your reality. It didn’t happen overnight, but it happened at exactly the right moment as all things do. So just stick with it.  Once you’re ready, check out my sister’s company at www.mwrightgroup.com. She’s amazing.

What advice would you give to parents when they learn that their child is gay or a lesbian?

When a parent learns or even suspects their child is gay or lesbian, just make sure the child knows that your love for them won’t change and allow them to discuss it with you. Support is super important because homosexual teens have the highest rate of suicide.

What is the biggest thing you learned about yourself while writing the book?

That I was causing all of my pain and frustration by trying to change who my son was, without ever thinking about changing myself. For so many years, that was the key, changing my way of thinking and stop being so judgmental.

What does Drew think of the book? 

Drew loved the book. It’s helped us heal our relationship and so that alone makes it a success for me. He told me that he now understands why I acted some of the ways I had. We were able to heal our wounds.

You are in the process of working on your next book. What is it about?

“The Evolution of a Gangster Turned Guru” is just what the title describes. It’s my personal spiritual transformation by learning about the Universal laws, God’s love, and most importantly, how to truly love myself. I discuss how we are each responsible for what we experience, the power of our thoughts and how by changing the way we think, we change our life situation.

Where can people go to learn more about ‘Voice for the Silent Fathers’ and you?

Like I mentioned, as an author your internet presence is everything. I’m on Facebook, Twitter, Instagram @EddieKWright.  My author blog can be found at www.eddiekwright.com and each of my books has a website at www.voiceforthesilentfathers.com and www.gangstertoguru.com.

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'Artist Lake' by Joe Rotella

By Rita J. Egan

The days are becoming chillier, but that hasn’t stopped the Port Jefferson Free Library from celebrating the beauty of the great outdoors. The library is currently hosting the exhibit Slices of Nature/Phase 3, featuring the plein air paintings of Mount Sinai resident Joseph Rotella.

Salvatore Filosa, marketing and outreach librarian, said it’s the third time the library has displayed Rotella’s artwork. Filosa said the painter’s past shows have done well, and the exhibit allows visitors to experience the beauty of both plein air painting and Rotella’s artistic interpretation of local landscapes. “I hope that they’ll enjoy the scenes, and since most of the pictures are of Long Island scenes, I hope it will also give them a better appreciation of where they live,” Filosa said.

'Cedar Beach' by Joe Rotella
‘Cedar Beach’ by Joe Rotella

Raised in Brooklyn, Rotella spent 28 years of his career as an art teacher with the Board of Cooperative Educational Services (BOCES). During this time, the artist said he did very little painting of his own and concentrated on teaching. When he retired in 2008, he was finally able to pursue painting steadily and become a professional artist, something he aspired to since a child. “It’s a full-time passion,” he said.

Working with acrylics and sometimes with oil paints, Rotella’s artwork represents his interpretation of Long Island landscapes and seascapes. Since 2010, he has exhibited his work in both New York and South Florida in shows such as the Hampton Bays Outdoor Show and Patchogue Arts Council Summer Member Show.

The artist said he considers himself a Post-Impressionist. “I’m interested in expressing myself more so than the impressionist artists do. I’m trying to capture light in the moment, but I am also trying to give a feeling of emotion in my brushwork and so forth,” he said.

Rotella prefers plein air painting where one paints landscapes outside and interprets what they see physically in front of them as opposed to a scene captured in a photograph. Shortly after he retired, he moved to Mount Sinai and visited Gallery North in Setauket on a day when the Joseph Reboli Wet Paint Festival was taking place. “One day I went to Gallery North, and I saw people working outside, and I said, ‘Wow that’s just what I do, and what I want to do,’” he said.

He spoke to Esther Marie at Gallery North, who said he was more than welcome to participate in the plein air festival in the future, and in 2012, he did just that. Rotella said he also has contributed to art shows at the gallery since then.

'Lenny Bruno Farms' by Joe Rotella
‘Lenny Bruno Farms’ by Joe Rotella

When it comes to summing up his work, the painter said his artist statement on his website relays his mission best. The statement begins with: “In my work I try to capture the atmospheric conditions in terms of light, tone and color. I paint what I see and try not to compromise color. I am concerned with some details but do not obsess over them. I paint the surface tones as I see them trying to be fluid and spontaneous with my brush strokes.”

The artist is pleased to display his paintings at the Port Jefferson Free Library once again. He said a few years ago he attended an art critique there and noticed artwork hanging on the walls of the meeting room. He approached the librarian at the desk and discovered all he had to do was schedule a date in order to exhibit his own paintings.

Rotella said he chose large works of art for this exhibit, with some measuring as much as 30 by 54 inches. While the paintings won’t be available for sale at the library, interested buyers can contact Rotella directly. The painter hopes library patrons come away from the exhibit with a different perspective of nature. “I’ve gotten many comments from people saying that my artwork makes them feel good because of the way I paint the scenes of nature. And that’s one thing, just to get a sense of nature, and how an artist interprets nature and sees nature, so that they can feel good about nature,” Rotella said.

“Maybe begin to look at nature in a different way; begin to start looking at nature and seeing what nature has to offer. Nature is beautiful. That’s what I would like them to get out of it — getting a good feeling from my work and appreciating it and feeling good about what they see.”

The exhibit will be on display in the meeting room of the PJFL, located at 100 Thompson Street, until Nov. 28. For more information on Rotella and his paintings, visit www.rotellafinearts.com.

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William Connor in his favorite room in the house — the kitchen. Photo from Amy Connor

By Rita J. Egan

Back in April, Northport Middle School student William Connor participated in the show “Chopped Junior,” and when it came to the outcome, he had to keep it a secret until the Food Network broadcasted the episode on Oct. 25. Turns out the local junior chef made it all the way to the dessert round before being eliminated. In the episode, titled “Snapper Snafus,” William and three other contestants were judged by a panel that included Danica Patrick, Jamika Pessoa and Scott Conant. Ted Allen was the host.

On the night of Oct. 25, William said his parents held a big party. He said on hand were his parents, Amy and Gene, siblings, James and Sarah, as well as his grandparents, friends, teachers and the two chefs, Rob Thall and Michael Roberts, who helped him train for the show. His parents also recorded the show. “I’m glad we taped it, though, because sometimes people were cheering so loud that I missed part of what happened,” he said. The 13-year-old admitted he was nervous, because even though William knew what happened, he was curious to see how it was edited and what the result would look like. “It was interesting to see the way they edited it, which was really awesome.  I was extremely proud of going on the show and making it that far and getting to show the skills I have in culinary,” he said.

After the network aired the show, William said he received many compliments from family and friends. “And everyone said they wanted to eat my curry ice cream,” he said. When he was at school the next day, in addition to receiving congratulations, someone gave him a note signed by 20 people, many he knew and a few he didn’t from different grades. He said it read, “Great job. We all watched you on ‘Chopped Junior,’ and you really inspired us.”

Now that the show has aired, William, who admitted he had hoped he would make it at least past the appetizers round, can talk about what went on during taping. “There was one time when Scott Conant said he didn’t know what a cheese ball was, so the next day I had to go back to film some more commentary stuff, and I brought him a cheese ball.  I didn’t get to see his reaction because we were in two different studios that day, but they told me he liked it,” he said. William also said that during the entrée round he had trouble finding basil leaves due to another contestant using all of them. He spotted another type of leaf, smelled it, realized it was mint and decided to use it for his pesto. “The judges loved it. They thought it was very creative of me,” he said. The future professional chef also said he was proud that he received positive feedback about his ice cream. “Ted Allen wanted to taste it, which he never does,” he said.

While William is back to life as normal, with school and Boy Scouts, he has kept in touch with one of his competitors. “I’ve been in touch with Taylor, who got cut first — I think we got the closest.  We’ve been trying to get together but she lives in the city so it can be kind of hard.  She wants to be a chef too, so maybe we’ll be in culinary school together,” he said.

William’s appearance on the show has turned into a great learning experience for the Northport resident. “I think it really actually transformed me into the chef I am at this moment. I mean, it made me realize that I’m not perfect, nobody is perfect, and I still have a lot to learn.”

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'I Spy A Dragon Fly' by Rita Swanteson will be on view at the Port Jefferson Village Center through Nov. 17. Image from Mac Titmus

By Rita J. Egan

The North Shore Art Guild is exhibiting for a cause. From Nov. 3 to 27, the organization will present Artists United in the Fight Against Cancer, at the Port Jefferson Village Center. The exhibition will benefit the Stony Brook Cancer Center’s Art Therapy Program. Mac Titmus, president of The North Shore Art Guild, said 30 percent of the event sales will go toward the program. With a decline in federal and state funding, the raised funds will help the cancer center avoid cuts in the program.

‘Street Artist,’ oil on canvas by Joe Miller
‘Street Artist,’ oil on canvas by Joe Miller

The center offers therapeutic programs to provide relief from pain, fatigue, boredom and stress for both children and adult patients. Titmus said the guild invited both members and nonmembers to submit work for the exhibit demonstrating the theme Through the Eyes of a Child. The guild president said when it comes to shows such as this one the group looks for a broad theme for the artists to work with. “We always try to think of a theme that is going to inspire the artists, and being that this is something to do with young children in the oncology unit, we try to visualize how the world would look through the eyes of a child,” he said.

The show, juried by local accomplished artist Linda Louis, will feature 98 pieces from 67 artists. According to Titmus, the artwork was chosen from 118 submissions, and the selection represents a mixture of mediums including watercolors, acrylics, photography, mixed media and more.

Healing through art therapy

Stephanie Condra, a licensed creative arts therapist who works with oncologists and bone marrow transplant patients at Stony Brook, said art therapy is instrumental in allowing patients to express their feelings during treatment and hospitalization as well as providing important coping skills. “It can be very psychotherapeutic in nature. It can do a lot of processing of thoughts and feelings of fear and anxiety and anger, as well as actively in the moment give something very positive to focus on,” she said. According to the therapist, in addition to creating art, this type of therapy provides other creative choices including working with a patient using guided visualization, playing music or even talking in imagery and metaphor. Condra said patients can experience a lot of anxiety when it comes to their treatment and future. “I think that’s one of the great benefits of art therapy, that they get much more of a choice and control in what is going on in that moment, when a lot feels out of control with the treatment.”

Finding the words through art

Joan Alpers, director of Child Life Services at Stony Brook Children’s Hospital, agrees with the benefits for patients when given a choice with art, and she said therapists who work with pediatric patients also offer games and playing with objects. “It’s both providing different kind of choices to people where choices of course are being taken away, and it’s also providing the opportunity to kind of normalize an experience, where, of course, necessarily medicine and medical protocol take first stage.”

Alpers said communicating through art is an important tool when it comes to pediatric patients. “Sometimes what happens is children just don’t have the words for things. They just don’t have the capacity to tell us how they are feeling or what’s going on or put it in words. But they certainly can make us a picture or show us in their play,” she said.

Children stand in front of one of the art pieces that will be on view at the PJVC through Nov. 27.

In addition to the guild’s exhibit on the second floor of the Village Center, Alpers and Condra said on the third floor artwork from pediatric patients will be on display in the hope that art lovers will be able to relate to the need for such a program. “Kids are filled with life even when they are sick, and kids want to paint and make and do, even while they are dealing with their treatments for cancer and devastating illnesses,” said Alpers, adding, “A lot of the work that we’ll show from the kids is bright and airy and beautiful, because that’s what kids need to be and do in order to create hope, in order to make a pleasant day out of a difficult day.”

Making a difference

Titmus said even though cancer can be a difficult subject, the guild has a goal in addition to raising money when visitors come to the exhibit. “We’re hoping that they understand a little bit more about art therapy,” he said. The art guild president said the goal is to donate $20,000 to the cause. In addition to the funds raised with event sales, the guild, which includes 140 members, has already begun raising money for the art therapy program through private donations and sponsorships by reaching out to local businesses and corporations. Artists also paid an entrance free of $10 for members and $20 for nonmembers to be considered as part of the show, and these fees will also go toward the donation.

The exhibit, which is presented in cooperation with Stony Brook Cancer Center, the Village of Port Jefferson and the Port Jefferson Conservancy, will feature a reception on Nov. 12 from 4 to 7 p.m. where many of the artists will be on hand. Raffles will be sold to raise additional funds and among the prizes are four one-day passes to Disney World and a chef’s dinner from Ruvo East in Port Jefferson. Both Condra and Alpers feel that events such as this help patients by acknowledging their journeys, something that is important to those suffering from cancer. “When they hear that there are people in their own community that are there behind them, I think that’s extremely valuable and extremely important in terms of their care, their hope and their resilience,” Alpers said.

The Port Jefferson Village Center, 101A E. Broadway, Port Jefferson is open seven days a week from 9 a.m. to 9 p.m. except holidays. For more information, call 631-802-2165 or visit www.northshoreartguild.com.

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