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Joe Cillo

View from Across the Pond

By Joe Cillo

REMEMBER ME?

Look back and smile on perils past.
Walter Scott

It happens every day.  You open Facebook and find some forgotten person from long ago. My friend Barry re-discovered Gloria, his high school sweetheart there.  They both had been widowed the year before and…well, you know the rest.  They are now madly in love spending hot and heavy weekends together reminiscing about that lousy math teach who drove everyone crazy and the big mistake they made marrying someone else first.

I have not been so lucky.  The people who re-connect with me on Facebook are all part of a nightmare I prefer to erase.  They remind me that they knew me when I wore braces on my teeth and wandered through life with my head in a cloud, my feet encased in orthopedic oxfords.  I do not want to relive a time when I was ruled by parents, teachers and consensus.  Those days are past.

I can only suspect that the ones who contact me are so senile they do not remember anything more than my name. There could be no other reason.  I was not the hottest item on the block in days gone by.

Nonetheless, I fell in love with the unattainable on a regular basis and went to great lengths to let my targets know I was available.  When I look back on all of them now, I realize how desperate I was. Did I really want that short, pimply guy in my history class?  And why did my heart flutter at the sight of a boy in uniform.  Didn’t I realize that clothes cannot transform a boy into a man?

Not long ago, I got a friend request from Donny Okun who fancied me when I was nineteen and still hopeful. He was a sailor then who wore his bell-bottom trousers tight enough so I could see clearly what he had to offer. He sent me bouquets of roses every week for a month and then asked me to come with him to Canada for a night on the town.

OMG!  I was crossing the border with an honest-to-god sailor and you know what they say about sailors!!!  I threw caution to the winds and wore my most décolleté dress so he could see my equipment as clearly as I could see his.  We got in the car, I lit a cigarette and tossed the match out the window.

However, the window was closed and the flaming match ricocheted into my cleavage.  As both of us burrowed into my dress to keep me from bursting into flame, I realized all too clearly that I needed more than a pair of tight trousers to commit.

And now, this guy wants us to be friends?

I hit delete.  It was one of the wisest decisions I have ever made.

 

VIEWS FROM ACROSS THE POND

By Joe Cillo

ART IS GOING TO THE APES

An ape cannot speak about his art
Anymore than a monkey can discuss a his digestion.
Jacques Cocteau and Lynn Ruth

In the late sixties, a gorilla won the Modern Art competition at the Detroit Museum of Art. The animals’ owner put several tubes of paint and a blank canvas in the ape’s cage.  The furry artist, whom I shall call Sybil, stomped on the tubes of paint and smeared the colors on the canvas with her paws.  After an hour, she tired of dancing and began eating the tubes of paint.  Her owner pulled the canvas out of her cage, hosed Sybil down and was amazed at the finished canvas.   It reminded him of a combination of a Jackson Pollack with a smattering of Kandinsky, a dash of Picasso and traces of Klee.  When Sybil’s masterpiece dried, he varnished it, framed it and entered it in the museum’s competition.

To his delight, the painting won first prize.  He bought a jeweled collar for Sybil, pinned a pink ribbon in her hair and brought her to the award ceremony. It was a little dicey getting her in the front door  but the owner insisted she was a service animal  He managed to keep her from molesting the guests by feeding her bananas and bit of cadmium red. When they called his name to accept the award, Sybil joined him on stage.  He told the astounded judges that it was not he who created the masterpiece they so admired.  It was his Sybil.

Years later, I took a class with the fabulously talented realistic painter Joseph Sheppard and he told me that Sybil was indeed a magnificent talent.  Indeed, he had joined her in her cage a few years after her triumph to raise money for the museum.  Together they painted a still life that hangs now in that same museum.

Evidently, gorillas not only paint, but they know what they are painting. Sister and brother gorillas Michael and Koko were taught sign language.  As a result, Koko (the artist in the family) was able to explain to her curator Dr. Penny Patterson, that she had painted a bird.

Just this past month, word is out that a zoo in North Dakota is selling the artwork of its 275 pound orangutan named Tal. His paintings are so colorful that they literally fly off the wall.  The animal’s favorite color is yellow and often he eats as much of the paint as he smears on his canvases. “Could be because it looks like a banana,” said the zoo’s curator.

There is no doubt that creativity is fundamental in the ape psyche. The animals  love using crayons, pencils and finger paint although they prefer oils they can eat. Everyone knows that children have the same propensity to eat the colors they use to paint. I believe we can learn a lot from the apes and their ability to transform their creative efforts into funds that support their favorite institutions.  I propose that we exhibit and sell all the paintings from local kindergarten classes to pay for amenities in their schools.  Think of it! We would no longer have to pay taxes to support education!  Our kindergartners would finance the system for us…and who knows?  There might be enough money left to reward the young artists with a few bananas.

 

 

 

 

 

 

 

 

VIEWS FROM ACROSS THE POND

By Joe Cillo

ARE YOU ALL RIGHT?

Politeness; The most acceptable hypocrisy.
Ambrose Bierce

British men are the politest animals in the universe.  The first thing they ask you is “Are you all right?” and, if you are an innocent, you believe they really want to know. They seem so caring, so mild, so…so sweet.  But underneath that proper façade, lurks suppressed anger, aggression and hatred boiling about, absolutely aching to let off steam.  Just ask any woman over 14.  She knows.  She has seen it.  She has defended herself against it. And she has won.

Obviously, male testosterone and animal aggression are at an all time high universally in this century.  In Spain, chastity belts are a way of life. In Greece,…well…we all know what those men do to a woman. In Britain, however all that hormonal activity  is repressed and re-channeled.

That is why the crime rate for men in Britain has plummeted.  The male Brit is simply too proper for confrontation. In the UK, the very idea of murder is terribly upsetting. It is so messy.  The thought of assaulting someone on the street is repugnant to a real gentleman (and we all KNOW how correct an Englishman must appear).  It might stain your shirt or even worse…leave a bruise.

Every woman in a heterosexual partnership can testify to the passive–aggressive garbage they must ignore every day (for they too are very PC.)  For example, it is a well-known fact that a man will always call you darling before he hits you.  Always.  It is the way it is done.

The truth is that any fellow who is British in bed, will always apologize and we women know why. We watch pornography, too.   In fact, although the maternal instinct is very strong, most women would prefer that their partner was not present at the conception of their children.  They always hope for a French intervention…or even an Italian one.  Those men don’t bother with protocol.  They just get in there and get the job done.

No full-blooded Englishman ever actually leaves his wife. That explains those tortuous 40-year alliances that drag on and on plodding through rearing the children, indulging the grand kids and going on cruises to ease the boredom of it all.   A real Englishman stays with his spouse and ignores for her for so long, that she is forced to leave to preserve her sanity.  Clever fellows!  That is how THEY become the injured one.

Besides, as every male knows, it is foolhardy to walk out of a partnership until he has found himself a proper house cleaner and a hot young thing for recreation.

The fact is that English MEN have a sense of entitlement that women must accept.  They get it from their mothers.  They know how to push the right buttons to make women and children indulge them and juries excuse their behavior.

The buttons they push these days are on their smart phones and their I-pads.  Men in this country are addicted to online bullying and misanthropic tweeting. It doesn’t leave a scar.  It is not unusual for a hard working woman, to slave away for 8 hours at the office, gallop to Lidl (she knows where to find the bargains) on the way home, Hoover the house as she charges through it to the kitchen to make a healthy stir fry for the children while her partner is belching quietly and watching television in the parlor, scratching his private parts.  As she tosses the pasta into the drainer and chops the garlic, she will inevitably hear a beep from her phone, glance at it and see a picture of a hot pair of baubles with a cryptic note:  “Why aren’t yours like this?”

Women are not bothered by all this foolishness.  After all, we can multi-task.  Don’t think you guys are the only ones with secrets.  Women always have the final say when it comes to any connection with a man.  We know how to say no.

 

 

VIEWS FROM ACROSS THE POND

By Joe Cillo

A HUG IN TIME

A hug is the perfect gift- one size fits all
and nobody minds if you exchange it.
Irvin Ball

A very young man in our Midwest was expelled from school for hugging his teacher.  The administration explained that his gesture of affection was inappropriate.  The young man was 11 years old.

What a sad statement about an adult’s interpretation of a child’s spontaneous impulse.  That young man was not planning to pin a teacher 30 years his senior and twice his size against a wall and ravish her.  He was telling her, in the most wonderful way any human can, that she is a wonderful being to him.

I can think of no sweeter gift to receive than a hug …it says so much more than a kiss or fling between the sheets.  It says, “I love who you are and I want you to know that right now.”  It does NOT say, “You belong to me,” or “you need to live with me,” or “I need your body this minute.”  Not at all.

It does say, “You are so great at this moment in time that I need to hold you close and absorb some of your lovely, inspiring energy.”   What greater gift any anyone give another?

A few years ago, in Edinburgh I as walking down the street with an Englishman who had been such an immense help to me that I was overwhelmed with gratitude. Thank you seemed so lame, so inadequate.   Suddenly, I knew that I had to hug him that very minute to show him that he was like a god to me….and  I did.  I dropped my packages and threw my arms around him and held him tight.

To my embarrassed surprise, he pushed me away.  At first, I was humiliated and angry, but I was puzzled as well.  I had no designs on him.  I had no thoughts of indulging in lascivious behavior in the middle of a busy Edinburgh street.  I was giving him the biggest compliment I knew how to give and he trampled on it.  And then I realized how sad it was that this poor fellow didn’t understand the power of an innocent hug.  He didn’t get that it is one of those human things we can do face to face.  It cannot be done on a cell phone or skype. A facebook post is simply not the same.  It doesn’t have the power…the intensity of feeling…. that a hug can give.

A hug has to be done person to person.  It is a gorgeous moment in time that transforms your world for just a tiny. beautiful second.  It is better than a vitamin, stronger than a shot of whisky and more lasting than any flower I could have pinned in that obtuse guy’s buttonhole.

I attributed his rejection to his being English until that next year when I came to Brighton and went down to the pier bearing a sign “HUG A GRANNY.”  Since everyone on the pier was English, I figured I would stand there, shivering and alone for five minutes and then rollup my invitation and go home.

Not so.

Within seconds, I was hugged by couples, mothers, teen agers, tiny children, a whole school of adolescents and three policemen who assured me I had made their day.  It might have been the sea air that loosened their inhibitions; it might have been that in Brighton we understand the value of a hug.  I am not sure what caused the avalanche of affection I received that memorable day.

What I do know is that I will never be afraid to hug anyone ever again…it is the best way I know to say “What a unique human being you are!” and if that person doesn’t hear me?  Well, I guess, if we were in America, he could expel me from school.  BUT if he lived in Brighton, he would hug me right back.

 

 

A Stellar Ensemble delivers Vonnegut’s Slaughterhouse Five at Custom Made Theatre

By Linda Ayres-Frederick

It’s an engaging show, Slaughterhouse Five, especially if you are a Kurt Vonnegut fan. And given our continued involvement in war, certainly au courant raising issues about the physical and psychological destruction battle reeks and the reasons behind government decisions to continue bombing when the enemy (in this case Nazi Germany) is close to defeat.

The very precise choreographed movement throughout the play adds a visual element reminiscent of a well-trained military unit. The 90 minute play itself jumps through time and space as much as its main character Billy Pilgrim–played by several actors: Ryan Hayes, as adult Billy, Brian Martin as Young Billy, and Alun Anderman/Myles Cence alternating performances as Boy Billy.

Performed without an intermission, Slaughterhouse Five is Billy’s journey or rather several journeys in and out of Dresden, Germany before, during and after the firestorm bombing that incinerated the city that was once considered the cultural center of Northern Germany. One such journey takes Billy to the planet Tralfalmador where, unlike earth, peace is known to reign on occasion and Billy finds respite from earthly conflict. The narrator Man, presumably Vonnegut, (Dave Sikula) wanders in and out of the action much as he does in the novel itself. Adapted for stage by Eric Simonson of Chicago’s Steppenwolf Theatre, Slaughterhouse Five is directed by Custom Made Artistic Director Brian Katz who rises to the most challenging aspect of the piece–keeping the threads of the story visible, a task much like dressing an octopus.  If there is any annoying aspect in the production, it might be the blinding flashes from the upstage baton of stage lights that assault the senses of anyone sitting in the center section of the venue. One can view this as a taste of torture experienced by the American soldiers placed in the P.O.W. holding cell of the slaughterhouse after capture by the Germans or just a dramatic indicator of change in time and space.

The ensemble’s work is stellar keeping the pace moving forward continuously. Among the highlights is the intense monologue about poisoning an annoying dog delivered by Sam Tillis as Paul Lazzaro –so reminiscent of the character Jerry in Albee’s Zoo Story. Speaking of Edward Albee, next up at Custom Made is his Three Tall Woman.

Slaughterhouse Five (or the Children’s Crusade) continues Thurs-Sat 8pm; Sun. 7pm; Sunday Oct 5 & 12 3pm. at Gough Street Playhouse 1620 Gough St (at Bush) SF. Tickets: $20-$50. Discounts available for Seniors, Students & TBA members. http://www.custommade.org/slaughterhouse

by Linda Ayres-Frederick

Custom Made Theatre presents Arthur Miller’s The Crucible

By Linda Ayres-Frederick

 

Set in 17th century Salem, this classic story of individuals standing up against the corruption of their society was Miller’s allegory for the witch-hunts of the 1950’s House Un-American Activities Committee led by Senator Joe McCarthy. The Crucible shows the persecution and state-sponsored murder of twenty persons by their friends and neighbors for alleged affiliations with the supernatural world. It also shows how power in the wrong hands can be wielded and opposed in any community–an issue that remains to this day.

As a work of theatre, The Crucible is one of Miller’s best examples of his mastery of subtext. And while this production as a whole is not done in a style that demonstrates Miller’s genius, there are many elements that remain praiseworthy.

It is always difficult to know whether artistic choices are directorial. One in particular is the surprising lack of subtlety in the portrayal of Deputy Governor Danforth (Paul Jennings). A man in a position of power has no need to prove it by shouting angrily. There is nothing more frightening than such a man who benevolently imparts a despicable point of view.

Equally confusing is why if both Proctor (Peter Townley) and Goody Proctor (Megan Briggs) repeatedly mention the emotional chill in their home, she would greet her husband open-heartedly with a welcoming smile. In a society where dancing is considered a sin, casual touching and shouting strike false notes, and feel completely antithetical to the culture. 

The Crucible directed by Stuart Bousel also presents challenges in the trial scenes when the young girls demonstrate hysteria. This alternates with dialogue among the judges which dialogue unnecessarily gets completely lost. Picking up cues without talking over others can build in volume to a more dramatic effect.

In the majority of scenes, the ensemble works well together keeping the action apace with notable performances by Reverend John Hale (Nicholas Trengove), Goody Putnam (Melissa Clason), Ezekiel Cheever (Vince Faso), Rebecca Nurse (Carole Swann), Francis Nurse (Richard Wenzel) Mary Warren (Alisha Ehrlich) and Giles Corey (Ron Talbot). As always at CMT the sound design (Liz Ryder) is stellar. 

Even with these reservations, The Crucible is an American classic worth seeing. Thurs-Sat 8pm Sun 7pm thru June 15. Gough Street Playhouse 1620 Gough Street, SF www.custommade.org 

Linda Ayres-Frederick

A-ASC’s Much Ado About Nothing is Something to Write Home About!

By Linda Ayres-Frederick

 

Much Ado About Nothing at African-American Shakespeare Company is definitely noteworthy. Under the expertly imaginative hand of Artistic Director L. Peter Callender, this rich plot of twists and turns that explores courting and romance gains momentum from beginning to end. Set in post WWII, the music of Ella Fitgerald enriches the sharp Shakespearean comedy. Callender’s cast is fearless dealing with the serious tones of honor and shame that are interspersed between the more exuberant aspects of love.

Nowhere will you find a more delightfully sassy Beatrice (Leontyne Mbele-Mbong) who meets her match in Benedick (Ryan Vincent Anderson). Their sparring wit contrasts the innocent puppy dog love of Claudio (Twon Marcel) and his lovely young Hero (Danielle Doyle). The story of the two pairs of lovers is enhanced by an ensemble that features solid performances from Don Pedro (Kelvyn Mitchell), Don John (Jim Gessner) and Leonato (Dwight Dean Mahabir) to name a few.  Tom Segal’s Choreography and Maureen “Mo” Stones’s Costumes add their talents to give this Much Ado even more pizzazz.

AASC is this year’s worthy recipient of the Paine-Knickerbocker Award by the SF Bay Area Theatre Critics Circle. Named for the former theatre critic of The SF Chronicle, this Award is presented to an organization that has made a continuing contribution to Bay Area Theatre.

Much Ado About Nothing completes AASC’s 2013/14 Season. With such an array of talent, their next season promises to be equally exciting.  Located at Burial Clay Theatre in the African American Art & Culture Complex, 762 Fulton Street (near Webster) in SF, an added perk is the free parking next door. Tickets for the upcoming season will be available at the Box Office or Brown Paper Tickets 1-800-838-3006. www.african-americanshakes.org.

 

Linda Ayres-Frederick

THE SUIT with an international cast is riveting at A.C.T.

By Lloyd Kenneth

Matilda (Nanhlanhla Kheswa) in the arms of her loving and doting husband Philemon (Ivanno Jeremiah)

THE SUIT: Drama. Adapted by Peter Brook, Marie-Hélène Estienne and Franck Krawczyk from the story and play by Can Themba, Mothobi Mutloatse and Barney Simon. American Conservatory Theater, 415 Geary St., San Francisco. (415) 749-2228. www.act-sf.org. Through May 18, 2014

THE SUIT with an international cast is riveting at A.C.T. [rating:5] (5 of 5 Stars)

It was 30 years ago that San Francisco audiences were treated to a magnificent spectacular production of A Midsummer’s Night Dream by the Royal Shakespeare Company directed by the brilliant Peter Brooks. It is a pity we had to wait so long to see the culmination of his latest opus The Suit that has been created in alliance with a talented aggregate of adapters, musicians and actors. For this 75 minute production the term spectacular is replaced by simplistic but is equally as brilliant and magnificent as Dream.

The simple setting is populated with colorful unadorned wooden chairs, metal-pipe clothes racks and a table that are moved about to create the illusion of interior/exterior buildings, bus stops, train interiors etc and a bedroom. It is the bedroom that takes center stage and is integral to the storyline. Most of the action is in pantomime without props thus allowing the action to flow smoothly.

With soft classical music playing by the on-stage trio, The Narrator Maphikela (Jordan Barbour)  sets the scene in Sophiatown, South Africa during the Apartheid-era. We then meet the young beautiful Matilda (Nanhlanhla Kheswa) sleeping in the arms of her loving and doting husband Philemon (Ivanno Jeremiah). He quietly leaves the bed to serve her breakfast in that fateful bed before he goes to his job as a secretary.

On the way to work he meets Maphikela who reluctantly tells Philemon that a young man has been visiting his Matilda every morning for the past three months. Unbelieving Philemon takes the bus back to his home and chases the young man dressed only in his briefs out the window leaving his suit behind. Surprisingly Philemon’s rage is subverted to a diabolical form of revenge, ordering her to always treat the suit as an honored guest that must be fed and carried with her wherever she/they go. He then goes to a shebeen (a local illegal drinking place) to drink away his sorrow/anger.

The show is filled with music and song that are extremely expressive of inner and external turmoil. All the singing, with one exception (Jordan Barbour sings the foreboding lynching song “Strange Fruit.”), is by Matilda and Nanhlanhla Kheswa is a trained singer with a beautiful expressive voice. When she performs the songs she steps to the stage apron and sings to the enraptured audience. The first song is “Forbidden Games”.

Her punishment continues and in desperation she joins the local Anglican Mission and bonds with the married women. This time she sings the haunting “Ntylio Nytlio.”  She even invites a few friends to come to their home the following Sunday and spends the week preparing to receive them. When they arrive, along with four members of the audience brought up on the stage to share the party,  she is encouraged to sing the haunting south African ballad “Malaika.” At the end of the song Philemon brings out the dreaded “guest of honor” the Suit.

Devastated Matilda’s begging to stop the punishment goes unheeded and Philemon goes off with Maphikela to the shebeen but when he returns his lovely bride is dead.  Ivanno Jeremiah is absolutely superb, keeping complete control while seething inside and when he does raise his voice, only once, all the internal fury spills out. Jordan Barbour is the one who brings the background story of the Apartheid-era forward never letting us forget that the personal tragic happenings are playing out on a tragic political stage.

Franck Krawczyk’s beautiful score perfectly reflects the moods of the characters and the setting. His trio of Arthur Astier, Mark Christine, and Mark Kavuma not only play a plethora of instruments but also step forward to play both male and female characters adding humor to the evening.

Cast: Jordan Barbour, Ivanno Jeremiah, Nohlanhla Kheswa

Production: Scenic/costume design by Oria Puppo; Lighting design by

Philippe Vialatte; Assistant Director Rikki Henry;

Direction, Adaptation, and Music by Peter Brook, Marie-HehIene Estienne, and Franck Krawczyk

Musicians: Guitar Arthur Astier; Piano Mark Christine; Trumpet  Mark Kavuma.

Kedar K. Adour, MD

Courtesy of www.theatreworldinternetmagazine.com