Wedding Anniversary

I'm feeling very nostalgic today, our 42nd wedding anniversary.  But melancholy also intrudes because as time permits (the irony of that phrase weighs on me) I've been going through the thousands and thousands of photographs I scanned, leaving behind the world of silver halide prints for digital and more manageable copies. Although a smidgeon of the way through reviewing the scans, my life is literally passing before my eyes and I have mixed emotions, some opportunities perhaps lost, but others seized.

In retrospect, though, my childhood, education, first marriage, even my career, is dwarfed by my forty two years married to Ann.  Today, relationships, and even more so jobs, seem to be kaleidoscopic, frenetic, relatively short-lived.   I've lived with a good woman for nearly half a century now and had two jobs in my lifetime of working.  But when did pulsating youth become, well, "old age?"  I use this expression somewhat disingenuously, in deference to when I was younger and the thought of turning 70 meant being really old. Nonetheless, I still feel like I did decades ago, at least mentally. 

And how does one fathom 42 plus years of living with one person?  Prosaic as it may be, the words trust, humor, patience, and friendship immediately spring to mind. And, so, to celebrate our anniversary, here are a few of those scanned photographs from over the decades, admittedly an idiosyncratic selection, ones that amuse me for the moment, not necessarily the best photographs (I can hear Ann saying "Why did you use that photograph!!??).  And they are mostly scanned photos, with the drawbacks of that process. 

PS Blogger (Google) has changed its blogging interface.  It's awful, and the ability to handle photographs is even worse than before.  Another learning curve, sigh.

The Boys of Spring

The boys of spring turn into the boys of summer. If there was ever an argument for the existence of a God, it has to be baseball. Imagine, just the dimensions of the infield, not to mention the nuances of the game, would seem to argue divine intervention. Could man alone have set the distance from the pitching rubber to home plate at exactly 60' 6" and not just 60'? OK, bases are 90 feet apart. That sounds like man-made, but much of the game seems to have been handed down from the Gods.

I played some organized baseball as a kid, pitching because I couldn't hit worth a damn. As a lefty I had movement on the fast ball, tailing away from a right handed batter, like a mini screwball. I was a "crafty left-hander," with slow stuff to make the fast ball seem faster.

Although occasionally I'll still "throw" a ball with my neighbor (who batted against Herb Score in high school), I just follow the game when I can, especially the Yankees simply because they were "my team" as a kid. While the game itself hasn't changed much, the players and the business of baseball has. It's big business but obviously the public is willing to pay up, monstrous salaries and baseball franchises being supported by obscene ticket prices and concessions and huge cable TV revenues.

Does that mean the boys of summer play the game only for money? Of course not, but change has its consequences. Like earlier this month when my friend Art and I, with great anticipation, planned to go to the Yankees' penultimate spring training game in Port St. Lucie to play the NY Mets. What could be better, a preview of a NY rivalry? The tickets had been bought months in advance by friends of ours who found they couldn't use them, so we bought them at face value ($70 total). They were selling on the web for more than twice that amount as the game neared, the stadium seating only about 7,000 and the demand for those tickets far in excess of that.

So the day of the game we drove up to the park early to watch batting practice, get our obligatory hot dogs, and just soak up the ambiance. Walking up a ramp to our seats we saw a bus, the driver standing nearby, and Art cried out, "is that the bus for the Yankees?" (thinking they probably flew and this question was rhetorical). "Yup," he said.

We didn't think Jeter, A-Rod, Teixeira et al would be busing it from Miami after the night game in Miami's new stadium the day before so we began to wonder who exactly would be playing. But they do bus the "B" team, and that is what the Yankees mostly fielded. Not known to the fans, most of the Yankee "A" team flew to Tampa for their last spring training game, also against the Mets.

Some "A" players were there, notably Ivan Nova who pitched, the jovial Nick Swisher, and swift Brett Gardner, but that was about it. I knew the "A" team would not have played many innings, but wanted to get some good photos while they did. No such luck. So instead we watched the "other" Yankees, Almonte, Hall, Castro, Bernier, Wilson, not exactly murderer's row. Sad, Cervelli was the catcher, joking with his teammates, not knowing he would be consigned to AAA ball just a couple days later.

While it was nice being at the ball game, any ball game, I could have passed on it given the crowds and the expense, but I was able to get some pictures of Nova (who pitched poorly) and of the Met's lefty, Niese, who didn't fare any better than Nova, both giving up 5 earned runs in the Yankees 7-6 loss. Swisher hit a home run and I was able to capture the swing and the ball with a timely photograph. But, we left well before the end of the game.

Happily, though, last night was our first minor league (Class A) ballgame at Jupiter's Roger Dean Stadium where Ann and I have "Silver Slugger" season's tickets. What a deal, 19 games, a hot dog and a soda all for $25 each (not per game but total!). How can you go wrong? Farm clubs of the Cardinals (Palm Beach Cardinals) and the Marlins (the Jupiter Hammerheads) play there during the summer. And Class A ball is played every bit as professionally as their Major League counterparts. And the joy is there, the hope of one day making it to the "show." A couple of years ago we watched Giancarlo Stanton (then known as "Mike") in action, recognizing he was destined for the majors.

Last night the Cardinals played the Pirate's affiliate, the Bradenton Marauders. And in an ironic twist, having seen mostly minor leaguers at the spring training game, the Bradenton starting pitcher for this minor league game was none other than major leaguer A.J. Burnett, who was making a rehab start after having been injured in spring training. I've always thought Burnett was long on talent but a head case, and pitching like golf gets in one's mind. You need both the physical ability and the mental attitude to succeed.

As a Yankee fan, I had "suffered" with Burnett but I had hoped that a new venue would bring him out of his stupor. While he seemed to have his velocity last night, his pitches were not well placed, unlike those of the Cardinals' starter, Seth Maness who pitched seven shutout innings, most of his pitches in the low 90's and at knee high. Burnett looked dazed most of the time, ignominious as a starter in Class A, and left forlorn after giving up seven runs in less than 2 innings. It was sad and hopefully he has better success in the future. Palm Beach went on to win 10-4 but just being out at the beautiful Roger Dean field and soaking up the crack of the bat and the pop of the catcher's mitt made it a grand slam evening.

About a Bear

Here is a satiric fable, an extended parable for our times, making hilarity of the foibles of human nature, a change of pace from my usual reading fare, The Bear Went over the Mountain by William Kotzwinkle. My Cousin Joan recommended this book to me, surprised I had never heard of it as it was published in 1996 and the publishing industry is the main setting. Joan and I share the same sense of humor, not to mention grandparents.

Simple story. Bear (who adopts the name of "Hal Jam" the last name coming off a jar of jam of course) finds a manuscript (intended to be the Great American Novel") written by an English professor who is on sabbatical in the woods of Maine, makes his way into the big city (the bear that is), poses as a human (you have to throw any sense of reality to the wind) to the extent that he can, and becomes the toast of the publishing world. He happily indulges in honey and other sweets, meeting important people, women pursuing him as if he is the reincarnation of Hemingway. The real author, meanwhile, in a fit of depression realizing he has lost his great novel, also loses his professorship, stays in the woods and, in fact, becomes bear-like, sleeping away part of the winter. I will not give the ending away, but who do you think Kotzwinkle thinks made the better trade of lives?

Meanwhile throughout the novel, the stage is set for some very funny moments. But one thing I cannot get out of my head while I read this is Jerzy Kosinski's novel, Being There, where the simple minded "Chauncey Gardiner" (the gardener at the estate of a well known man) is mistaken by the press to be a wise philosopher in his simplicity. "Plant the seeds and the garden will grow" -- Of course, if we make our investments and some tough decisions, the economy will revive! (Sort of like now.)

Here are but a few examples from The Bear Went Over the Mountain:

Ms. Boykins, a literary agent pursuing Hal, says "The sales forces will insist on a tour..." Hal Jam puts his paws over his ears as the din from the restaurant is overwhelming his "animality." "The racing stream of human speech glistened as it curved around obstacles and glided on, relentless in its gradient, while he panted in animal stupidity And then his nose twitched, the olfactory bulb at its root a thousand times more sensitive than that of a human. He straightened and moved his head around to isolate the natural scent he'd found within the synthetic veil of perfumes. There it was, moist, cool. 'Salmon.'"
Boykins says: "Yes, they do it skewered with tomatoes, mushroom, and green peppers."
"'Raw,' said the bear with resurgence of primal authority."
"'Raw?'"
"'Raw female. Lots of eggs. In my teeth.' The bear tapped at his incisors."
"My god, thought Boykins, he is another Hemingway."

Or when Hal Jam goes shopping in a supermarket... "The skyscrapers of Manhattan had astounded him, and now the endless amounts of honey that man had available to him had humbled him to the ground. The intelligence, the inventiveness, the time and courage, it took to lay in this much honey was the final proof that man wore the crown of creation. 'Bears are just along for the ride,' he said to himself as he filled his cart with honey...."

Or his meeting with a Hollywood agent, Ms. Zou Zou Sharr at whom the bear looked "from under the peak of his baseball cap. It was the first time he'd been this close to a human female for any length of time, and he liked the experience. If she had some fur on her face and the backs of her hands she might be good looking."

Zou Zou misunderstands just about every brief phrase the bear utters as being a demand for a larger take from movie rights, saying "'Believe me, Hal, your piece of the pie is just what it should be and so is CMC's.'" "When I eat a pie, I eat it all," says the Bear. Zou Zou replies: "Of course you do, and I understand. The book is yours, it's your creation, and you want your fair share." Eventually, Zou Zou offers herself to the bear to get the contract. They "do it," the bear tossing her around the room. She's enthralled by being ravished -- he's an animal! Yes, another Hemingway! And they do it in a taxi -- "He'd passed a great human milestone. He'd done it more than once a year."

Eventually, the bear meets the Vice President and the President, again, another hat tip to Kosinski's novel.

As a former publisher, I laughed at almost every page. Indeed, these are the trade publishing people I saw flitting around in Frankfurt every year absorbed by their self importance.

In many ways the book is also reminiscent of Firmin which is about a rat who lives in a bookstore. And a rat figures near the conclusion of this book as well. That Kotzwinkle can keep up the conceit of Hal Jam being part of the American literary, political, and New York scene for the entire length of the novel is a testimony to his satiric artistry. Lots of fun reading this one. Thanks, Cuz Joan!!!!.......

"Master Harold"...and the Boys Triumphs at Dramaworks

Dramaworks has produced yet another classic, in keeping with its mission statement of "theatre to think about." In fact this riveting story is heightened by the Director Bill Hayes' passionate belief that this drama and ones like next season's A Raisin in the Sun need to be performed again and again while we, as a society, still suffer prejudice and intolerance. This new production, in its new home on Clematis Street, solidifies Dramaworks place as the premier serious theater in Southeast Florida. I call it Broadway South.

So much is packed into this production that the simplicity of the plot belies its profound intensity, the action slowly building and escalating on two phone calls. Sam (W. Paul Bodie) and Willie (Summer Hill Seven) are servants in the early years of South Africa's apartheid system, 1950, in a St. Georges Park Tea Room where all the action takes place on a windswept rainy Port Elizabeth afternoon. Sam, while not having the benefit of a formal education is nevertheless possessed of a strong native intelligence and kindly disposition, while Willie is somewhat slow, more sensitive and dependent on Sam's guidance. They are casually cleaning the room, but mostly they are playfully teasing each other about an upcoming ballroom dance competition. Enter the son of the couple who owns the tea room, a 17 year old student , Harold, known to Willie and Sam as "Hally" (Jared McGuire). The off stage parents loom significantly in the plot, particularly the father who is both crippled and an alcoholic, an embarrassment to Hally.

The three on-stage characters have a close relationship, even a loving one. In a twist of societal relationships, Sam has become sort of an ersatz father to Hally, recognizing the boy's conflicted feelings towards his father. Sam tells Hally about his mother's phone call. His father is coming home from the hospital. This is strongly denied as a possibility by Hally until he receives the first of two phone calls from his mother. He implores his mother to keep the father there (not wanting him home).

Hally's demeanor changes after the phone call. He becomes obsessed with his homework assignment which is to write about a significant cultural event and Sam suggests the upcoming dance competition as being a worthy subject. Hally is instantly caught up in the possibilities; with the dance competition becoming a metaphor for a perfect world, where people glide in unison, without colliding with others, where there is no hurt or abuse. This good time is interrupted by a second phone call in which Hally's mother tells him that his father insisted on leaving the hospital and now he is expected home immediately after locking up the Tea Room. It is at this turning point that the play goes from benign to dark. Hally is consumed with anger, knowing the consequences and the humiliation of his father's return, and the multigenerational nature of racism rears its head as Sam suddenly becomes the target of "Master Harold." Sam at first feels betrayed. Although this confrontation becomes volatile, the essential goodness of Sam prevails at the end while Hally departs into the symbolically stormy night. Life goes on. Willie and Sam rehearse dance steps to the strains of Sarah Vaughn on the juke box, Willie wanting to believe that nothing has really happened. They have their dignity at the end.

This drama works on so many levels, one hardly knows where to begin. The consequences of family abuse and shame, apartheid, racism in general and how that reverberates throughout society, witness the recent Trayvon Martin tragedy or the virulent anti-Obamanism that seems to be part of today's political landscape, and the multigenerational nature of racism and family abuse. The abusive, alcoholic father in literature and theater is pervasive. The impact on their families is always disastrous and a son's need to find substitute fathers is profound. And what happens when the substitute father is perceived as your inferior? Ironically, who is really in bondage, Hally or Sam?

The innocence and even nobility of Sam is sorely tested by Hally's demeaning and malevolent invectives, but Hally is caught in the irresolvable conundrum of having to become a man at the expense of treating noble Sam as society (and Hally's father) expects a white man to treat a servant in the system of apartheid. And how different is that from even post Civil War America where Afro American's were merely stereotypes and those of us who grew up in the south, such as my wife, were accustomed to segregated schools, buses, bathrooms, lunch counters, everyplace one went, well into the 20th century. Not surprisingly, Sam mentions Abraham Lincoln as one of history's most significant figures, Fugard's veiled reference to America's race problem. But Sam also mentions Jesus Christ as such a figure and in Sam's goodness and forgiveness and careful nurturing of Hally he too is saying "forgive them for they know not what they do." This is a very autobiographical play. Fugard was 17 in 1950 as well, and this work is his exculpation of the guilt he felt being raised in the system of apartheid.

It is a delicate play to stage successfully. So much depends on the nuances of the set and the acting, the lighting, the ambiance. One thing out of place would be easily noticed and distracting. Here Dramaworks excels as usual, selecting the ideal actors and relying on the behind the scenes talents of the people supporting them.

Under Director Bill Hayes' careful direction, the three actors shine. The pacing of the play is just about perfect. My criteria of pacing is to be completely unaware of time passing, the audience caught in each moment, everything seeming to happen at precisely the right time and place on stage. I love the metaphor of the dance (of life), a leitmotif that weaves throughout the play, Hayes highlighting those at appropriate moments.

Jared McGuire who plays Hally has played the part before. He knows Hally well and although Mr. McGuire is older than 17 (no seventeen year old actor is going to have the experience to play this pivotal role so well), he passes as such, his boyishness coming through in his relationship with Sam as well as the raging testosterone that gives rise to his misguided attempt at "being a man" -- his trying to become one in a corrupt society and a dysfunctional family. This is a difficult role to play and McGuire nailed it.

W. Paul Brodie turned in a bravura performance as the compassionate Sam, a person who is sorely tested but emerges noble at the end. He is on stage 99% of the time and while there he is a force, either of drama, sadness, or, even laughter in his kidding of Willie and sometimes Hally.

Summer Hill Seven's portrayal of dim-witted Willie is perfect, even his glances at Sam and Hally during their confrontations. But Willie lives in the dream world, looking forward to the dance competition, reconciliation with his girl friend who he has abused (all of society is caught up in being abused and passing it on), and Seven effectively plays this role.

The scenic design by Michael Amico is exacting, recreating what a 1950 Tea Room in South Africa must have looked like, using the full stage of the new Don & Ann Brown Theatre to its greatest advantage. Even the detail of making a real on stage cream soda is portrayed. Everything is so authentic. Outside, upstage, the pane glass windows of the Tea Room reflect the falling rain, the dreary reality that the Tea Room symbolizes, and, if I'm not mistaken, the rain becoming more intense as the denouement of the play approaches and Hally goes out into the storm.

A wonderful play by a master playwright, performed by one of America's most professional regional theater companies equals dazzling drama.

April Fool Anniversary

It is a one year anniversary of sorts for me today. Ironic it should be on April Fool's day, as it was no laughing matter. Some of the details of what I write about below were also covered by the entry I wrote not long after that day but I purposely did not revisit it before writing what follows, not wanting to be influenced and knowing that I would repeat some of what I wrote. But I recall not revealing some of the details and my feelings when I wrote that entry. I was too close to the event.

I had entered the hospital in late March for what I thought would be, yet, another stent, perhaps butting a stent inside one that had collapsed. A tricky operation, yes, but more routine than the dreaded alternative, bypass surgery. In spite of being in good shape all my life, eating healthily (well, at least relatively speaking), exercising, and, even having low cholesterol, my parents both had heart disease and I've resigned myself to being the victim of bad genes. Of course I'm not unique in this regard and I do the best I can.

But surgery did not go well, my returning to consciousness soon after I went under. The nurse in recovery looked somber, saying the surgeon would be in to explain. I knew what was coming. The interventionist cardiologist said he was referring me to a thoracic surgeon, the best in the area, as he could no longer address the widow's maker blockage with stents. Back in my hospital room I met Dr. Katz who was to operate on me.

He said I needed a dual bypass and he intended to do this surgery off the heart lung machine. In other words, on the beating heart. Open heart surgery. Images sprung to mind of his having to work quickly between heart beats, conjuring up a scene from a Woody Allen movie.

"Don't worry," he said, "I've done this before, in fact many times before. But here's the problem, we have to wean you from Plavix before the surgery because of the risk of excessive bleeding. It'll take days to work it out of your system but we can't discharge you as we wait because your artery is so blocked that you could have a heart attack anytime and you should be here. In a sense, we have to balance the risk of early surgery against the one of you having a significant heart event."

Nice euphemism, "significant heart event," not the words one wants to hear. So the wait began. Tests were taken at regular intervals which revealed I had acute sensitivity to the blood thinner so it would take days, how many they didn't know. Finally, on March 31 they said, surgery tomorrow, they couldn't wait and they were hoping the Plavix factor had diminished.

Happy April Fool's day I thought as I was being wheeled into the cardiac surgery theater. All I can remember is the cold, the high tech monitors, and a team of medical personnel ready for a full court press, March madness still being in the air. The thought went through my head that I might not survive this surgery and these might be my last conscious moments of my life, with strangers, in this sterile room. But the human psyche is innately optimistic and I looked at my surgeon and saw how confidently he was orchestrating his team, and I went under.

I woke up four days later.

My previous entry recounts much of those details, but essentially, excessive bleeding and traumatic intubation mandated not only opening me up a second time, it also required that long period of controlled unconsciousness. Ann says at times I wildly gestured to her when she visited, none of which I can remember. Mittens restrained my hands so I could not pull out myriad tubes entering my body, but, in particular, the Tracheal intubation tube down my throat. I was not a pretty sight, as the gruesome photograph clearly depicts. (I'll not post it again, but a link is here).

Did I see my life flashing before me, lights at the end of a tunnel? I don't remember anything of those four unconscious days.

But when I did awaken, I was in cardiac intensive care. Jon and Ann were there. The surgeon visited and recounted the details. My body felt bludgeoned. I was given a "cough bear" -- a little teddy bear to hold to my chest in case I had to cough up anything, something to press on the wires holding my sternum together, more of a reminder not to expand my chest for any reason. I was told that I would be in intensive care for at least two days before I could go to the cardiac wing and as I was in a coma induced sleep for four days, to expect not to be able to sleep during that entire time.

After my family left for the evening, there I was, alone, clutching my bear. I didn't have the strength or the inclination to read. Just trying to get comfortable and minimize the pain was enough of an effort. So I was left with either my thoughts or the TV to pass away the agonizing long hours of the nights. I found my thoughts somewhat depressing. Will I recover and be able to resume my life as if this never happened (it didn't seem possible at the time)? Why me? (I've asked that question many times regarding my heart issues, and blockages and high blood pressure are not the only ones, as I also have a pacemaker; my body's electrical system was shot by the time I reached my mid 50's.)

So, I turned to the TV. Do you have any idea of what is on basic cable channels during the wee hours of the night and early mornings? I had to suppress a laugh watching the numerous ads for mattresses, sleep aids, etc. Those lucky people in the real world who can't sleep only because of insomnia. I'd trade places with them in a heartbeat (no pun intended).

While the TV was on low to keep me company, I closed my eyes most of the time just to pretend a sense of normalcy.

Night "life" in a cardiac intensive recovery wing consists of hearing other patients sometimes moan in pain. I don't think I did that, although the sense of discomfort on the one to ten scale was eleven most of the time. Worse, I heard a doctor and a nurse nearby saying the patient in the next room had just died and to contact his family. Right next to me. It could have been me, I thought.

Then, there was the night nurse from hell. I suppose nurses fall into the bell shape curve like any other group of human beings, there being a few exceptional ones, most merely competent or average, and a few very unexceptional ones. In my case, I would draw the curve with many more on the exceptional end, especially the cardiac nursing staff.

But first, nurse from hell. I don't know her name (AKA Nurse Ratched, "NR"), but she was on duty my first two sleepless nights, the ones when I was in the most pain, and, frankly, most fearful of the outcome of all of this.

NR obviously took enjoyment from her position of power over her patients. I don't want to cast aspersions at the airport TSA personnel, but, face it, some enjoy the same relationship with the travelers they control.

This woman had an acerbic flair for mockery as well. That first night of interminable consciousness, after my wife finally went home exhausted, NR had obviously overheard Ann referring to me as "Bobby," a moniker I don't particularly like, but Ann (I call her Annie though) uses it and therefore some of my closest friends who have been around us a long time, call me that as well.

NR obviously took a jealous aversion to my wife and in the middle of the night I could hear her at the nurses' station (they don't realize that their chatter at night drifts down the hallways a long distance, sort of like being downwind of an anchored boat in the middle of a calm night), mocking "I wonder how 'Bobby's bear' is doing" (meaning the bear I was hugging to keep my chest together). She noted my wife's jewelry (some pieces jangling when she walks, Ann arriving like a brass band) to her co-workers, something that I guess incensed NR.

Then, one of the few times I buzzed the nurses' station in the middle of the night because of the extreme discomfort I was in (or pain, I hardly could tell the difference), and needed someone just to move me slightly to one side or the other (I was incapable of moving myself with all the tubes coming out me, the catheter, etc.), she reluctantly assisted me, but menacingly whispered in my ear, "you ought to back off that buzzer, we have other patients here."

So besides the insufferable but benign TV, I had this real life John Claggart from Melville's Billy Budd to deal with. I really saw her in those terms, not that I was the embodiment of innocence, but I was at my most vulnerable. These thoughts raced through my mind: If I ring for help, might she take vengeance for bothering her? If I report her or tell my wife to report her, what would those consequences be? I was determined to make it out of intensive care alive, and then deal with it. I asked Ann to "dress down," cryptically saying "I'll explain later."

In retrospect, I should have said something then and there, but when you are that vulnerable, your mind works differently, and believe me, in the middle of two sleepless nights, you are really ALONE.

So I clutched my bear and bore it, the sleeplessness and the terror of Nurse Ratched (although the one in the film based on the Ken Kasey novel was a lot more attractive but equally evil). But she was not the only nurse on duty, thankfully; all the others were wonderful.

For instance, on the opposite end of the spectrum was a day nurse who was the model of efficiency and good humor. Why? Because her first comments to me was that she was somewhat dyslexic (just my luck I thought) but, as a consequence, everything she needs to do for each patient is on a checklist (she showed me her personal clipboard). Sure enough, she methodically went through her list each time she saw me and didn't miss a thing, and she had me laughing to the extent that I could.

When I finally graduated to the regular cardiac care unit (and to my first night of sleep), I was greeted by the nurses who I already knew as I was in the cardiac rehab program before my surgery because of my prior stents. It felt like going back to family, all wonderful nurses who are in the unique position of following their patients from the nadir of their hospital stay, to their eventual discharge, to their offsite rehab. I still go to the rehab gym to this day, one year later, to get on the treadmills and the exercise machines, back to form before all these cardiac problems enveloped me. I can't say enough about the help and encouragement of that nursing staff, the higher end of the bell curve I described earlier.

Once out of intensive care, I took my first steps with the help of these nurses, very tentatively, my legs feeling like rubber bands, with their arms around me. They said, "don't worry, every outing will get easier and longer." And they were right.

So here I am exactly one year from the day I went into a four day coma, and a brush with death. To say I am grateful is an understatement, to my surgeon, Dr. Katz., to the young Anesthesiologist, fresh out of medical school I thought, Dr. Carroll, who prepared a checklist for any future anesthesia caregiver in the future, to alert them to my difficult intubation, and the need for a fiberoptic bronchoscope. So I carry this checklist around with me in my wallet to this day and on a USB drive attached to my keychain as a PDF along with other essential medical records.

But most of all I am grateful to the nursing staff that brought me along, and continues to work with me to this day so I can indeed resume my normal life. In fact, with my new "pipes" feeding my heart much needed oxygen, I feel more healthy and productive than I did before. Anyone reading this blog regularly would recognize that as I went on a home repairing spree when we returned from last summer's travels, including painting much of the house myself. Even the scar has pretty much disappeared, although the left part of my chest is still somewhat sensitive because so many nerves were severed and they take a long time to heal.

I did not mean to dwell on the one rotten apple to mark this one year anniversary of my coming back from the nearly dead, but, at the time, she loomed large in my mind. I reported her at the end of my hospital stay so I hope other patients were spared.

My wonderful surgeon, Dr. Katz, is also a gemologist and he has made it a tradition of giving his patients a heart shaped stone specimen of his hobby in their follow up visit, one I had a couple of weeks after getting out of the hospital. You choose one and then he reveals the "story" behind the rock. I choose a very heavy, beautifully polished one.

And the story behind my choice, which turned out to be Hematite, mined in Brazil, is that metaphysically, it is said to be "excellent for calming and relief of stress....a good stone for 'grounding', meditation, dissolution of negativity, and bringing peace and inner happiness," ironically, all my weaknesses, and so I go on hoping it works and grateful for this reprieve. No April fooling.

Running Through the Jungle

That jungle is here. The U S of A. The conservative mind would like us to believe that we'd all be safer carrying a weapon (or at least, "feel" safer). When John Fogerty wrote (and the Creedence Clearwater Revival recorded) his prophetic 1970's, Run Through the Jungle, it was thought that, along with many of his other songs, the jungle he was referring to was Vietnam. Wrong. It was his plea, still unanswered, that some gun control sanity transpires -- here. The lyrics refer to 200 million guns -- then the population of the United States....

Run Through The Jungle

Whoa, thought it was a nightmare,
Lo, it's all so true,
They told me, "Don't go walking slow
'Cause Devil's on the loose."

Better run through the jungle,
Better run through the jungle,
Better run through the jungle,
Woa, Don't look back to see.

Thought I heard a rumbling
Calling to my name,
Two hundred million guns are loaded
Satan cries, "Take aim!"

Better run through the jungle,
Better run through the jungle,
Better run through the jungle,
Woa, Don't look back to see.

Over on the mountain
Thunder magic spoke,
"Let the people know my wisdom,
Fill the land with smoke."

Better run through the jungle,
Better run through the jungle,
Better run through the jungle,
Woa, Don't look back to see.

Now, only forty years later, there are 300 million people who could be armed, locked and loaded. Wouldn't you feel safer?

And toward that end, in Florida we have "Stand Your Ground," Yeehaw!!!

With the tragic killing of unarmed Trayvon Martin, by a "crime watch volunteer," George Zimmerman, Florida's "Stand Your Ground" provision has proven to be the gun-slinging cowboy's best friend. This NRA supported measure says "a person who is not engaged in an unlawful activity and who is attacked in any other place where he or she has a right to be has no duty to retreat and has the right to stand his or her ground and meet force with force, including deadly force if he or she reasonably believes it is necessary to do so to prevent death or great bodily harm to himself or herself or another or to prevent the commission of a forcible felony." "Reasonably believes?" Does a hooded black youth give cause to "reason?"

Life imitating art? It conjures up the Bertolt Brecht play, The Exception and the Rule, a parable for these times, in which a merchant hires a coolie to help him cross a desert to close an oil deal, but near the end of the journey, when the exploited and abused coolie offers his boss some water, the merchant mistakes the gesture for an attack and shoots him dead. He is put on trial but acquitted as the court concludes the merchant did not know the coolie meant no harm and therefore the killing was pardonable. If the one with power kills, he may do so merely out of fear. One has to be armed to have that power and Brecht saw that as an issue in class warfare.

Let's escalate this insanity further. Guns in classrooms. The Colorado Supreme Court recently upheld a state law that allows residents to carry concealed weapons, finding that the University of Colorado's campus gun ban violates the "law." Colorado is not the only state with such a law and guns are not the only "approved" concealed weapons. In some states such weapons "may" include one or more of the following: Brass knuckles, Slingshots, Martial arts weapons, Knives, Swords, Spears, Daggers, Clubs, Electronic dart guns, Blackjacks, Sand bags, Razors. Sounds like a scene from West Side Story or Blackboard Jungle. Or something out of Medieval "Fechtbuchs." Including "sand bags?" Ouch!

My old college buddy, Bruce, who was the chairman of a high school English Dept. in Massachusetts, and also a Vietnam vet who knows first-hand the consequences of brutal gun force, was stunned to read Jeff Jacoby's March 21 piece in the Boston Globe, A Safer Society with Guns

With forced logic and anecdotal statistical evidence, Jacoby happily concludes that it is OK for students to carry guns, as "having a gun makes many people — for good reason — feel safer." Yeehaw!!!

In disgust, Bruce dashed off a letter to the Globe, but as his comments are steeped in sarcasm, perhaps the Globe thought it disrespectful and elected not to publish it. Legacy media ought to rethink its policies if it is to survive. Here is Bruce's response....

Thank you, thank you, Jeff Jacoby, for standing up for a student’s right to carry a concealed weapon. We’ve known all along that such sound arms policy would only make our schools and our nation safer, kinder and gentler. As a teacher, I have always advocated that my students be able to carry concealed weapons.

Though I live in Massachusetts where the benighted populace still prevents students from carrying concealed weapons or even visible ones (typical liberal policy that ignores the need we all have to defend ourselves in the classroom—Obama’s fault for sure), I can finally hope that one day I will be able to teach in Colorado. In the meantime, I can only hope that perhaps among my students are an enlightened few, who are courageous civil libertarians, carrying concealed weapons in defiance of Massachusetts law.

I myself would like to be able to carry an M16 in the classroom or perhaps an M60 machine gun, and I dream of the day when this will be possible. To be sure, I would not be concealing those weapons but would be using my desk in the front of the room to mount the M60. (I note here that large arms carrying laws across the nation need to be changed. We vitally need to be able to carry automatic rifles and other large arms, locked and loaded. But that’s an issue for discussion at a later date.) As for myself, I could work out some camouflaging technique if we can get some reasonable laws passed for concealment. With columnists like you Mr. Jacoby leading us out of the unarmed wilderness and with, I’m sure, the backing of the NRA, perhaps all students and teachers will one day be armed.

Thank goodness for the sound reasoning of the conservative voice backed by the statistics you gave us showing reduced crime and kill numbers in jurisdictions where people can carry. Thanks for not showing statistics from other pusillanimous societies that haven’t the courage or the manhood to carry. Who would want to know that those sissy societies don’t kill nearly as many men, women or children with firearms as we do? Thanks for knowing what in addition to weapons needs to be concealed. Thanks, and thanks again.

-- Bruce Rettman

Scanned Photographs

Talk about being overwhelmed. A couple of years ago Jonathan and I went through some 4,000 photographs that I've been carting around since the photography bug bit me as a kid, and we shipped them off to ScanMyPhotos in California for scanning. The preparation process is a bit involved to get it right. I was terrified to part with the photos, even via the most secure shipment method, but the time had come to step into the brave new world, and jettison the hardcopy versions that just take up space.

These all were returned along with DVD disks which, although I've seen them all, I have yet to fully organize. But in the meantime, I had discovered still another +/- 4,000, mostly in boxes in back of closets, so buried I did not know they were there. I had suspected missing photographs as ones I took with my childhood Brownie and with my father's Speed Graphic were not among the first batch. I had sadly reconciled myself to losing them, but they were among this last batch, including a "self portrait" I took with my first camera in the hallway mirror of the first house we lived in, crossing my eyes to make a big impression. I was about 9 or 10.

There were also some photographs not scannable (those smaller than 3x3 and those in poor condition), so I digitally photographed them. Furthermore, several hundred 35mm negatives turned up, mostly B&W when I did my own developing, and they were able to be scanned by ScanMyPhotos. I've been pleased by the service, their turnaround usually in a week.

So, in total, I'm left with about 10,000 images all needing review and organizing, probably something I'll never really finish doing. But as I go along with the task, from time to time I'll post some here. That will be a idiosyncratic, eclectic mix, but that may be the only way to get some of them out "there."

I'll start with this sequence, shots of me -- I'm in my mid 40's -- attempting to stay on a windsurfer off our Norwalk Islands anchorage. I remember the incident well -- I was as successful doing that as I was water skiing. In spite of being on the water much of my life, water sports eluded me. It was embarrassing at the time, but laughable in retrospect. I made up for it in other sports, anything involving a ball. Good eye/hand coordination but lousy balance.....


Finally, a scan of my all time favorite photograph. When Jonathan was born, I was working with my Nikon F and I set up a studio in the garage. I took photographs of him in his Oshkosh jeans. My mother, who was a very good artist, did an oil painting of another picture I took seconds after this one (her signature "Grandma Penny" is on the left sleeve).

Timing

An attention-grabbing article is in the March 26th The New Yorker: "Replay; As he faced an ailing economy, what could Obama have done differently?" by John Cassidy. Actually it is an book review of "The Escape Artists: How Obama’s Team Fumbled the Recovery" by Noam Scheiber, a review that somewhat undermines the subtitle of the book, as Cassidy's opening sentence sets the stage for the entire article: "In Presidential politics, timing is everything" -- reminding me of an entry I wrote a couple of months ago.

I've cobbled together a couple of quotes from that entry, and strung them together, making a similar point about timing: "The Republicans say that by now Obama 'owns' the economy, as if a switch was thrown when he was inaugurated and a dial was set for about three years, the onset of the next Presidential election cycle.....[But] when it comes to the economy I can neither give Obama credit nor condemnation.....Capitalism is a story of inherent cycles."

One thing is for sure: we averted economic catastrophe during the Obama administration, but could have things have been handled more perfectly, perhaps so. He certainly could have managed expectations better and favored housing issues over health care at the onset of his Presidency. But he had no direct control over some of the issues that are the consequence of economic cycles, just as he has no direct control over the price of gas where geopolitical issues dominate. But we've heard Republican cries of "vote for me for $2.50 gas" Why not $1.99 or for that matter $0.99?....

Game Change a Game Changer

Last night we went to a Game Change dinner with friends to view the much talked about film that is based on the best-selling book by journalists John Heilemann and Mark Halperin. The film focuses on just one part of the story, the selection of Sarah Palin as John McCain's running mate and the subsequent campaign which revealed how woefully under-vetted Palin was.

As a movie, it is terrific, with great acting, starring Julianne Moore, who plays Sarah Palin so accurately (not as a Tina Fey caricature -- but rather so realistically that one would be hard pressed to tell the difference between Moore's portrayal and Sarah Palin herself), Ed Harris as John McCain and Woody Harrelson as his campaign strategist, Steve Schmidt, The supporting acting was also first-rate, particularly Sarah Paulson as Nicolle Wallace the senior advisor for the McCain campaign who had to suffer as Palin's "handler." Jay Roach, the director, kept things moving at a lively pace so there was never a dull moment, an interesting film to add to his prior credits such as the Austin Powers films! The characters are so believable, Moore, Harris, and Harrelson being almost exact facsimiles of the people they portray.

So, how much is the film (and therefore the book) a facsimile of the truth? Much of the "truth" relies on the recollections of Steve Schmidt the chief strategist of the McCain/Palin 2008 presidential campaign, but Danny Strong, the screenwriter, also independently interviewed scores of people to corroborate the facts. One has to admire Schmidt for fessing up, the truth being Palin was selected for her gender and pizzazz. If she thinks North and South Korea is the same country or Britain's head of state is the Queen instead of the Prime Minister so be it. To Schmidt's credit, his regret at having gotten the Palin ball rolling led to his disclosures, particularly after Palin's Going Rogue was published, basically freeing him to talk.

An excellent follow up to seeing the film is the C-Span panel discussion on the film adaptation,consisting of the book's authors, Heilemann and Halperin, Roach, the director and executive producer, Steve Schmidt, and Danny Strong, screenwriter and co-executive producer. Particularly interesting is Roach's comments on the selection of Moore, Harris, and Harrelson, the perfect serendipity of it all. One of Roach's favorite scenes in the film is Moore as Palin watching a YouTube clip of SNL's Tina Fey portraying Sarah Palin, commenting that he's hoping Palin will see Game Change, watching Moore portraying her watching Fey's portrayal. An infinity of mirrors, befitting her media star status.

For me, the film just underscores the ludicrousness of Presidential/VP candidate selection and election campaigning that seem to rely upon the gullibility of the American electorate and their susceptibility to mass persuasion. And this is not just to finger point at the GOP as the same kind of machinations undoubtedly go on in the Democratic camp. But the GOP primaries have been especially transparent in this regard, a stain on the democratic process.

When Palin was picked nearly four years ago, I wrote: "If, indeed, the VP selection is the most critical decision of a Presidential wannabe, McCain demonstrates how seriously deficient his judgment may be. Given his age and his prior health problems, I think we, the voters, have to consider Governor Palin’s credentials as if she is running for the Presidency.....No doubt Sarah Palin is a bright, hard-working person – she certainly seems to come across as such in the media, but to possibly cast her in the role of the President of the United States seems to be just downright irresponsible by Senator McCain and as politically calculated, and demonstrating bad judgment, as some of his television ads." Game Change just reinforces what I believed at that moment.

The film concludes with the not so prophetic remark of Rick Davis, McCain's campaign manager, "she'll be forgotten in a couple of days." But we all know the rest of the story. And the film, Game Change is a game changer in that it's probably all true, quite unlike much of politics itself.

PAC Politics

"Stay tuned, but now a word from the sponsor" --- the despicable political advertising condoned by the Supreme Court. The Founding Fathers obviously anticipated ungodly sums of money being raised by corporations and unions for political PACs so elections can be bought and sold by these "people" whose first amendment rights would otherwise be violated. Or at least I guess that is the Court's interpretation.

And to think we are just seeing the tip of the Super PAC iceberg in this Presidential election cycle. The Republican primaries are appalling enough (both in terms of content and political advertising). Just wait until the REAL election gets underway.

The American electorate is electronic media addicted; broadcast emails, streaming video, Tweets, YouTube, network and cable TV. Outside sleep and work, "video consumption" is the #1 activity, or, if written, preferably 140 characters or less please. Robocalls are part of the political media bombardment. Sound bites over substance.

When motivational research was being pioneered by the likes of Ernest Dichter and James Vicary in the 1950s and popularized by Vance Packard in his Hidden Persuaders, little did they know that some of those principles would become part of a giant advertising machine aimed at buying elections. Advertising 101: sell the emotion, not the pragmatic benefit of the product.

And, so in this political season, we're selling religion, and all the emotions that are attached to the same (and in a negative way, not the way it was used in WW II advertising to spur solidarity and sacrifice):

But the real selling job is just getting underway. Sell fear. Just wait until the Super P's roll out their shadowy images of their opponent bathed in a light to look like Jack the Ripper.

The firestorm unleashed by the misogynist "entertainer" Rush Limbaugh regarding Sandra Fluke's testimony to Congress fits the bill as well. Talk show radio is just another media circus of highly charged emotional invectives. This elaborate infomercial is then recycled on the Internet, passing for fact. No sense commenting on vile Limbaugh as the definitive word was posted by Jim Wright over at Stonekettle Station in his recent The Absurdity of Rush Limbaugh. But while Limbaugh's blather has led to some lost advertisers (probably temporarily), the Gingrich "Winning our Future" Super PAC signed on for more advertising! Way to go to win our future!

It is no wonder that a society that consumes movies that are more computer animated than acted, and cannot live without 24/7 video is a perfect target for Super PAC persuasion. Just fork over the bucks and try to buy an election! Sanctioned by the Supreme Court, the same folks who "sponsored" the results of the 2000 presidential election.

Labels

I have been retrospectively adding "labels" to my posts, a tedious process, and to use blog-speak, a "gadget" that is not as exacting as a proper index. As a former publisher, the inconsistencies of the labeling process bother me. This is partly my own fault as the labeling was done over several months. Consequently, as an example, President Barack Obama is merely labeled "Obama" while most luminaries are labeled by first and last names, an unintentional gaffe and no disrespect intended. I suppose I assumed we all know who he is. And unfortunately, labels are alphabetized as they appear so first names prevail, an affront to any indexer. But one can scroll over the list fairly quickly although there are more than three hundred labels at this point -- they appear on the left side of the page below "Blog Archive" and "About Me."

Reviewing my four plus years of postings in doing this project I see so much of what I wrote is where the winds blew me and some views have changed. But I intended "Lacunae Musing" as an "everyman's" view of the world going by, so the windblown nature is understandable and the mere passage of time explains some changed views. More painful was to see some repetition, not remembering that a year earlier I had made the same point, perhaps in a different way. Nonetheless, I have not edited or deleted any entries. Let some future generation unwrap this as a buried digital time box. It is what it is.

I expected the blog would mostly cover my diverse interests, but I was somewhat surprised by the number of entries that relate to the economy and politics. Sturm und Drang have characterized those topics during the past few years, so that is no wonder as well. Then there was the incredible open heart surgery I went through last year, a difficult procedure complicated by traumatic intubation so one could say I write this blog on borrowed time, although I feel fine now. Amazing having gone from this:









to this "self portrait" taken during our recent cruise:










As an eclectic blog, "Lacunae Musing" does not have the level of page load activity associated by niche oriented blogs with a dedicated readership. But that's OK by me as I write this mostly as a personal journal and as a creative outlet. Sometimes I wonder if I never did this, and concentrated that same energy in other pursuits, such as the piano or even writing a novel or a play, something I've been tempted to do, perhaps that might be a better use of my time. Or maybe this blog is my excuse for not doing something even more challenging. One will never know unless I find the path to an alternative universe.

However, while writing this blog, I did manage to dramatize four Raymond Carver short stories which I entitled When We Talk About Carver. This consists of dramatic readings of "Want to See Something?" and "Gazebo," each preceding a play adaptation, the former with "Put Yourself in My Shoes" and the latter with "What We Talk About When We Talk About Love" -- perhaps Carver's best known story. As the production requires only two male and two female actors, I thought it would be ideal for smaller theater companies. This required getting permission from the author's estate and the approval (with revisions) of the author's widow, Tess Gallagher, which was finally successful. But my quest to place the play, even for a reading, has come to naught, and it is a lesson learned about how the system "works" (publishing in my days also had its "system" equally difficult to crack). I had naively believed that Carver, as one of the 20th century's greatest short story writers, and my painstaking attempt to use his exact words in the adaptation, would ensure, at least, a placement with a knowledgeable but small non-profit theatre. That is not how it works, and so I can imagine what the outcome might be if I was the author of a play rather than merely the adapter of a writer of Carver's prominence. It is disheartening, but a learning experience. But learning even with disappointing results is better than standing still.

Also, I've managed to keep up with my musical interests, working on several musical programs as I am a volunteer pianist at a local rehab center as well as at a retirement home. The latter gig is particularly fulfilling as I prepare specific programs, my first being the music made famous by Frank Sinatra, followed by one focused on the works of George Gershwin. The Gershwin program was challenging as it required a solid hour of playing his wonderful melodies, including those from Porgy and Bess which are among my Gershwin favorites. I'm now preparing programs by Rogers and Hammerstein (my next), to be followed by an all Steven Sondheim program, and finally a "British / French Invasion of Broadway" program, works by Andrew Lloyd Webber and Claude-Michel Schönberg.

So, "Lacunae Musing" continues to be one of many pursuits, and managing its time requirements is a constant battle. Consequently ,when I started this, I consciously turned off the comments feature of most blogs. However, an email address is included in the "about me" section, so there is a way for people to contact me and I've received many emails over the years and responded to all.

I integrated a "statcounter" about a year so I have a rough estimate that there have been almost 20,000 "hits" since the beginning, most of those from Google phrase searches but almost an equal number from searches of Google Images as I have hundreds of photos in the blog. Unfortunately, BlogSpot is not very user friendly for photographs. I would have carried more otherwise. And there are mysterious inconsistencies with photographs in the blog. Some can be easily enlarged by clicking onto it, and others cannot, even though I treat all work on photographs the same way.

It's been an interesting journey and now with the label "index" I can see the breadth and the focus (or lack of) more clearly. Whether you are a return visitor, or happened to just land here, I hope you find it useful or interesting. I doubt whether I will be able to keep up the pace of writing as I don't want to repeat much of the family history and I might take a little more time to smell the roses, but with the political season heating up, there will be unavoidable fodder for writing. Then, too, there will be more theater, the books I'll be reading, and future travel, whatever suits my fancy. Truly an eclectic journey, one person's views and experiences. Hopefully, it has some relevancy in the real world.

While writing this entry we had a rare concurrent visit of both our sons, our oldest, Chris, celebrating a birthday and so we went to one of our favorite local restaurants, Captain Charlie's Reef Grill. This is a down to earth, funky, lively restaurant with some of the best and most imaginative fish dishes anywhere. One can make a meal of the appetizers, each a unique creation. Part of the fun is even waiting for a table outside in the balmy Florida night. They don't take reservations. They don't have to. People will eagerly wait. We went on a Saturday night, happily passing the one hour wait time sitting on the outside chairs, while others were waiting in a separate bar they maintain a few doors down in the unassuming Juno Beach strip mall where the restaurant is located. The waiters and waitresses have been there forever and they've become old friends. It is a place to see and be seen and the desserts are fabulous such as their chocolate mousse b-day cake!

RED at Jupiter's Maltz Theatre

I didn't expect to write this, hoping for merely an enjoyable Friday night at Jupiter's Maltz Theater to see one of our subscription plays, in this case Red. I knew something about the play, that it is about art, the same general subject as portrayed two nights earlier at Dramaworks, in their fine production of The Pitmen Painters.

So I suspected the plays might invite comparison, but I was determined to take a break from "reviewing." But here I am at 5.00 am getting down my thoughts without the benefit of any notes which I usually take during the evenings we're at Dramaworks. Such is the burden of an obsessive compulsive.

Not only the plays invite comparison, the theaters do as well. We've been subscribers to the Maltz since the first day it opened ten years ago, having been awed by it's opening play, one that we thought "set the stage" for what would follow in their future seasons, Anna in the Tropics by Nilo Cruz. Consequently we eagerly bought season tickets that night and have done so every year. If I was writing this blog then, I would have posted something extensive about that Pulitzer Prize winning play, a true story of a cigar factory in Tampa in the late 20s (also based on historical fact) that employed lecturers to read classic literature to the workers who were mostly illiterate but came to appreciate great literature while they were working. Their emotional transformation while listening to Tolstoy's Anna Karenina is nothing short of electric, mesmerizing theatre. And it is a very sensual play with passionate interaction between characters.

Although always impressed by the level of professionalism exhibited by the Maltz since then, we have at times been disappointed by their choice of properties. Each season there would be a plum of a play, perhaps suitable for Dramaworks as well, such as their production of Master Class, Terrence McNally’s Tony prize-winning play about the great soprano, Maria Callas or The Tin Pan Alley Rag, a dramatic depiction of a fictionalized meeting between Irving Berlin and Scott Joplin, or last year's production of the classic Twelve Angry Men. But interspersed are productions that pander to popular taste. If we wanted to be merely "entertained" we could always go to a movie.

Until seeing Red, we were actually thinking of reluctantly cancelling our season's tickets and just going to the few plays we think worth the time to see. But Red reminds us of an obligation to support serious theatre in South Florida, especially after the demise of Florida Stage where our prepaid subscriptions turned into those of an "unsecured creditor "and the recent financial difficulties of the Caldwell (to which we do not have season's tickets but occasionally go).

But as I said, Red invites comparisons to The Pitmen Painters which we had seen just two nights before. The Ashington artists were uneducated, neophytes to art, their artistic egos as fragile as butterflies whereas the ego of the artist in Red, Mark Rothko, fills the stage and the entire auditorium, with some left over for the parking lot. The nature of art is also discussed in The Pitmen Painters but on an elementary level, befitting the nature of their primitive or folk art while art is discussed in its most intellectual and symbolic form in Red befitting the modern impressionistic works of the highly experienced Rothko. It's not that one art is better than the other (and personally, I like the more traditional art of the Ashington group, although appreciate abstraction as well), but it is interesting how these two plays approach a related subject and how the dramatic experience effects us. They challenge us to think about what art means, to us as individuals and to society.

Red is about the real life abstract impressionist Mark Rothko (Mark Zeisler), and the drama springs from his relationship with his young assistant Ken (JD Taylor), fictionalized by the play's author, John Logan. What happens between the time Ken is hired by Rothko who emphasizes that he is an employee only, not his student, not his son, not his patient, to the moment when Ken is finally fired by Rothko is 90 minutes of uninterrupted highly charged drama. Red leaves us stunned and even tearful at the end, a dramatic transformation of two men, the artist and his young assistant. Yes, only a two character play with such power.

And "red" is discussed in its many manifestations, as in different shades of that color, and black overtaking red, Rothko's metaphor of death overtaking life. Meanwhile it connotes something entirely different to Ken who, as a seven year old, witnessed the aftermath of his own parents' murders, saw the dark blood, still sees it and imagines (in his own paintings) what the murderers might have looked like. A perfect element for Rothko to connect with Ken on a human level, but can he, does he?

Rothko is a depressive misanthrope, railing out at others who fail to recognize his greatness and who fail to understand what art really is about while Ken has the buoyant innocence of an aspiring artist, secretly hoping to learn from the master, and to be appreciated by him. Rothko has been engaged by the architect of the Seagram's building, which houses the Four Seasons restaurant to paint their murals. And there is the conflict, art vs. commerce, something Ken the student sees, argues with Rothko to see, but it is not until Rothko himself goes to the Four Seasons for dinner that the realization that he is prostituting his soul sets in. He describes his visit with a misanthropic distain for the other diners, their wealth, their dress, their judgments, their small talk, all the vacuousness we have come to despise about modern society itself.

It is a stunning turn of events on stage, and after two years (in 90 minutes) Ken is fired, hurt, bewildered, demanding to know of the master, why, why, why. At first Rothko stays within his curmudgeonly demeanor, but finally looks at his assistant and painfully says, I am setting you free, to be with people your own age, to experience your own art. Ann and I knew we had just shared one of those special theatrical moments.

The quality of the acting, the stark staging of an industrial warehouse, the lighting which seamlessly highlighted the paintings or the action, was executed with such expertise that the audience could just dwell in the production, experiencing what only live theater can provide. The two roles were so very different, with such diverse demands, that they are hard to compare. JD Taylor perfectly plays the starry-eyed, eager-to-learn, but ultimately disillusioned Ken. Mark Zeisler has the task of playing the Herculean Rothko and has to modulate an almost stream of conscious intellectual banter about the nature of art while screaming invectives about his competitors (cubism before abstract expressionism and then the drip painting of Jackson Pollock and the pop art of Andy Warhol) and his distain about the art "public." Art and the character are almost inseparable, one inhabiting the other. The role's difficulty and how it is portrayed lead to a few discernable moments of hesitation on Zeisler's part, something I find rare on the professional stage, but understandable given the nature of the role and how people really talk.

We usually like to arrive at a theater early enough to read the program, and this was the other odd thing about the evening. The program had no information about the play's author, John Logan (or did I miss it?). This is a brilliant and passionate piece of writing, one that precisely reflects Rothko's inspired work, so I thought this apparent omission very bizarre. Wikipedia to the rescue. Logan is primarily a screenwriter, with such credits as The Aviator, The Gladiator, and Hugo, among others. Not surprising, Red was the 2010 Tony Award winner for Best Play. One hopes he returns to playwriting again.

As I noted, Andrew Cato, Maltz's Artistic Director, is trying to walk a fine line between appealing to everyman (what he calls family theater) and serious theatre. Maltz has the advantage of having a stage suitable for musical productions as well and there, too, it waivers between adult musicals such as its past exceptional productions of Cabaret, Man of La Mancha and Evita, and frothy "fun" musicals, pabulum some South Floridians apparently crave. We wish they would stick more with the former (do we really have to see the Music Man again next year?). While tempted to choose only the plays we want to see, live theater needs support, so we will renew again, hoping for thoughtful productions in the future. Such as Red. See it!

Abstract rendering of a photograph of a South Florida moonrise