By Ron Levitt

Florida Media News
ENV Magazine

My philosophy in reviewing shows is that there certain plays, actors, directors, playwrights, technical professionals and some situations one simply cannot be neutral about. When you are neutral you are an accomplice in reviewing a production as to the viewpoints others have, not necessarily yours! Objectivity, by the way, doesn’t mean treating all sides equally. It’s not necessarily just a “bad play” or “bad acting.” I do have my likes and dislikes and often show them to others dismay. Objectivity means giving each side a hearing—considering all elements of a production.

That philosophy caught up with me recently when I reviewed “On An Average Day,” the current production of Ground Up and Rising, the two and a half year old company now producing at the Byron Carlisle in Miami Beach and soon to move to the Art Serve in Homestead,

My sense of fairness had to consider several elements: the play and the acting, in addition to my general philosophy about reviewing small theatrical productions.

In my mind, I found the play mediocre; the acting, absorbing and classy. Trying to keep my objectivity, I guess a review of this play should rate it overall somewhere in between.

First, the acting by the two stars – Arturo Fernandez and Arnaldo Carmouze –is A-class. They play two brothers – one Bobby (Fernandez), whom we meet in his kitchen when brother Jack (Carmouze) arrives. The pair haven’t seen each other in twenty-some years but, strangely, they seem to carry on as if nothing has changed. Bobby is a bundle of psychiatric disorders— a dysfunctional recluse

Older brother Jack is sensible, practical –adorned in business attire. We gradually learn that their father deserted them when Bobby was eight, that Jack raised Bobby until he, too, abandoned him. With these issues on the kitchen table (the major piece of scenery), it’s apparent, the play’s title is ironic. There is nothing average about this day!

Bobby has problems—obsessive-compulsive, paranoid schizophrenia, as well as antisocial personality disorder, the one we usually refer to as a psychopath. Due to an accident and his violent reaction, he is now on trial, though inexplicably out on bail.

Jack always fixed Bobby’s problems when they were kids. Now Bobby believes Jack has turned up to save him again. But things are not what they seem. Jack wasn’t even aware of Bobby’s crisis. Jack has an agenda of his own and before the play is done, the past has been uprooted and shots are being fired.

At this point, you ask yourself: no matter how great the acting, what is this play about? You start asking yourself questions – Where is the mother? How has Bobby survived since childhood? Who took care of him? Where has Jack been all these years? Why today — of all days — did he return? A dozen or so questions will swirl before you.

Fernandez, who doubles as Producing Artistic Director, explains that as a small theatre, it has to go up against larger and better known venues in selecting plays. Despite donations and grants, it cannot compete at the selection level in the plays it produces as compared to more well known venues. This is understandable…even commendable because Fernandez and Carmouze actually turn a mediocre play into a vigorous character study. The acting makes this visit worthwhile – seeing two extremely capable actors put their spin on unlikely characters.

John Kolvenbach is the author who offers too many unexplained background items to make this seem realistic.

Ground Up and Rising – which has introduced some topnotch actors in South Florida—a bunch of twenty-somethings (Kameshia Duncan, Bechir Sylvan, Sheaun McKinney Natalia Brea, for example) – is a relatively young company, composed mainly of first-generation and minority Americans who hope to bring fine theatre to the underserved in the community. Its goal is high, It has selected some topnotch and difficult plays to offer its audiences and is constantly looking for expressive material. It will repeat its 12th production Jesus Hopped the A Train and will cap off the Fall season with The Pillowman, the 2003 award-winning dark, much-produced work by Irish playwright Martin McDonagh– the play which navigated itself to several Carbonells when it was done at GableStage two years ago.

Ground Up and Rising has its nomadic ways. It has moved around Miami-Dade, offering small but professional productions.at a variety of venues, If you decide to go, you will find a dedicated troupe of actors available to entertain, enlighten and educate. Call 305 529-6233 or get tickets at www.groundupandrising.org.

By Nancy Powell Radlauer (PowellReviews@aol.com)

THE GREEN GRAPEVINE: FOOD, INC. OPENS JUNE 19 at REGAL SOUTH BEACH 18, Miami

In FOOD, INC., producer-director Robert Kenner and investigative authors Eric Schlosser (Fast Food Nation) and Michael Pollan (The Omnivore’s Dilemma) lift the veil on the U.S. food industry, exposing the highly mechanized underbelly that’s been hidden from American consumers with the consent of our government’s regulatory agencies, USDA and FDA. Our nation’s food supply is now controlled by a handful of corporations that often put profit ahead of consumer health, the livelihood of the American farmer, the safety of workers, and our own environment.

None of us really know much about the food we buy at our local supermarkets and serve to our families. Though our food appears the same—a tomato still looks like a tomato—it has been radically transformed. Have you ever wondered why we have bigger-breasted chickens, the perfect pork chop, insecticide-resistant soybean seeds, or tomatoes that won’t go bad, but we also have new strains of e. coli, the harmful bacteria that causes illness for an estimated 73,000 Americans annually? We are riddled with widespread obesity, particularly among children, and an epidemic level of diabetes among adults.

With the use of animation and compelling graphics, the filmmakers reveal how a handful of corporations control our nation’s food supply. Though the companies try to maintain the myth that our food still comes from farms with red barns and white picket fences, our food is actually raised on massive “factory farms” and processed in mega industrial plants. The animals grow fatter faster and are designed to fit the machines that slaughter them. Tomatoes are bred to be shipped without bruising and to stay edible for months. Cattle are given feed that their bodies are not biologically designed to digest, and because of the high proliferation of processed foods derived from corn, Americans are facing epidemic levels of diabetes among adults and alarming increases in obesity, especially among children. There is something seriously wrong with this picture.

The film exposes a “revolving door” of executives from giant food corporations in and out of Washington D.C. that has resulted in a lack of oversight and illuminates how this dysfunctional political system often operates at the expense of the American consumer. In the nation’s heartland, farmers have been silenced – afraid to talk about what’s happening to the nation’s food supply for fear of retaliation and lawsuits from giant corporations.

Our laws today are such that corporations are allowed to patent seeds for crops. As a result, Monsanto, the former chemical company that manufactured Agent Orange and DDT (in 10 years), has landed its patented gene in 90% of the nation’s soybean seeds. Farmers are now forbidden to save and reuse these seeds and must instead buy new seed from Monsanto each season. Armed with a team of employees dedicated to enforcing their seed patents, Monsanto spends millions every year to investigate, intimidate and sue farmers, who ultimately are financially unable to fight the corporation.

FOOD, INC. also introduces us to courageous, socially-responsible forward-thinkers who refuse to stand by and do nothing. Some, like Stonyfield Farm’s Gary Hirshberg and Polyface Farm’s Joel Salatin, are finding ways to work inside and outside the system to improve the quality of our food.  Others who have chosen to bravely speak out, such as chicken farmer Carole Morison, seed cleaner Moe Parr, and food safety advocate Barbara Kowalcyk, serve to demonstrate the level of humanity and commitment it takes to fight the corporations that control the food industry. (The filmmakers attempted to interview representatives from Monsanto, Tyson, Perdue and Smithfield, but they all declined.)

Interview comments by Producer/Director Robert Kenner, Co-Producer/Food Expert Eric Schlosser, Food Expert Michael Pollan and Producer Elise Pearlstein:

Kenner: “Most American consumers think that we are being protected.  But that is not the case.  Right now the USDA does not have the authority to shut down a plant that is producing contaminated meat.  The FDA and the USDA have had their inspectors cut back. These companies now self-police, and what we’ve found is, when there’s a financial interest involved, these companies would rather make the money and be sued than correct it.”

Schlosser: “Some scientists are trying to produce foods that are healthier, easier to grow, and better for the environment.  But most of the food scientists are trying to create things that will taste good and can be made cheaply without any regard to their social or environmental consequences.”

Pearlstein: “I hope people will want to be more engaged in the process of eating and shopping for food.  We have learned that there are a lot of different fronts to fight on this one, and people can see what most resonates with them. Maybe it’s really just “voting with their forks” (eating less meat, buying different food, buying from companies they feel good about, going to farmers markets). Find a CSA (community supported agriculture) where you buy a share in a farm and get local food all year; it helps support farmers and you get fresh, seasonal food.  On the local political level, people can work on food access issues, like getting more markets into low income communities, getting better lunch programs in schools, trying to get sodas out of schools.  And on a national level, we’ve learned that reforming the Farm Bill would have a huge influence on our food system.”

You can make a difference. Visit http://www.foodincmovie.com/ to hear what celebrities have to say about the CHILD NUTRITION ACT which will be re-authorized by Congress this year. “Did you know one hamburger is made up of 50 to 100 cattle?” asks Alyssa Milano. “As consumers we have the power to make foods safer for us and generations to come.”  Producer/Director Robert Kenner concurs: “Things can change in this country. It changed against the big tobacco companies.  We have to influence the government and readjust these scales back into the interests of the consumer.  We did it before, and we can do it again.” FOOD, INC. reminds us that each of us has the ability to vote on this issue every day; at breakfast, lunch and dinner. Support the Child Nutrition Act by signing the petition at www.takepart.com/foodinc See the movie FOOD, INC. and spread the word!

By Ron Levitt

Florida Media News
ENVMagazine

Late night television hosts—from whom we expect rat-a-tat humor — could get a big ratings boost if it were to take on some of the subjects which have been let loose in Coral Gables these days. Uncontained laughter just spills out of the GableStage at the Biltmore. It’s all because Paul Rudnick, one of the funniest playwrights in America, has his side-splitting work on stage – The New Century – in which one-liners are the order of the day.

But, behind this humor, there are a string of politically incorrect statements as Rudnick bravely mixes in gay rights, same sex marriage, Aids, transgendered individuals, terrorism, bondage…you name it!!! One of the actors said it was the gayest play he ever came across. And that certainly rings true as well. Sprinkle in some rear and frontal nudity, some outlandish characters, a bunch of A-one performances and you cannot help but snicker and laugh loudly. And, it’s all done in good taste!

So, briefly, no matter if you just want to laugh or to discover some philosophical statements on equality and acceptance, The New Century has something to consider.

Joe Adler once again proves why he constantly wins awards for direction and for selecting plays which will entertain. If portions of The New Century may seem familiar here in South Florida, it’s because segments of the script had been done as stand-alone short plays in City Theatre’s Summer Shorts a few years ago. It’s essentially three monologues about parents and their gay offspring followed by a sketch of these characters brought together in a maternity ward of a City Hospital. However, the four laugh-wringing playlets which make up The New Century intertwine so lovingly that the material is as fresh as home-grown vegetables .

Just consider these scenes:

Pride and Joy – It’s a stream of one-liners as a Long Island Jewish mother (a mind-juggling, ferociously funny performance by Carbonell-winner Patti Gardner ) is addressing the Parents of Lesbians, Gays, Bisexuals, the Transgendered, the Questioning, the Curious, the Creatively Concerned & Others. Who better a speaker than this mom whose three children are ‘different”—a lesbian, a transgendered individual, and a bondage prone son ? She says to her husband, “Morris, I gave birth to three perfect children –what did you do to them.” She tells her transgendered child that ‘For what we spent on hormones, I could have had a new kitchen.” And, that’s just a mild sample of this character’s speech to reassure other parents.

Mr. Charles, Currrently of Palm Beach — This is a crackerjack performance by the brilliantly funny John Felix as the effeminate host of a cable-access TV show called Too Gay, It seems Mr, Charles was kicked out of New York and landed in Palm Beach, where he dispenses advice with the help of his go-go boy assistant Shane ( David Landon), who prances around in his birthday suit But, it is Felix’s 60 second soliloquy on the history of gay theatre that has the audience snickering.. Mr, C is asked “What causes homosexuality?” His reply: “I do.” His receptionist Joann (a charming newcomer, Jehane Serrales) has a baby boy that Mr. C passes a spell over, hoping that the youngster will grow up to be just as colorful as he is.

Crafty: Here we find a mid-Western mother (an irresistibly ingratiating and touching Sally Bondi ) who treats the depression of losing a son to Aids by crocheting an evening gown for her cat and speaking before the Junior Chamber of Commerce on serious questions which seem more like a shopping spree than a 9/11 World Trade Center attack. She calls them “muslin terrorists.”

These characters eventually meet in the New York maternity ward, giving us a few final laughs at their expense and a chance to consider the power of love.

Rudnick, a screenwriter/playwright/songwriter, novelist and producer, is known for several gay themed plays – Jeffrey (a breakthrough comedy about love in the world of Aids) and The Most Fabulous Story Ever Told (a rewriting of Genesis about Adam and Steve ). These were comedies – but none as wildly humorous or will tickle your funny bone as The New Century (the name refers to a shopping site across from the World Trade Center).

The colorful but simple set by Tim Connellly, the sound and music by Matt Corey, lighting by Jeff Quinn, and the creative costuming by Ellis Tillman all add up to the usual professional standards and Carbonell award dominance which have made GableStage such a powerful venue in South Florida. This show may be a far cry from GableStage customary dramatic shows, but its sugary, laugh-provoking stimulus proves to be an unexpected delicacy.

The show runs through July 19. Call 305 -445-1119.

…is proud to announce the South Florida Premiere of THE NEW CENTURY,

by Paul Rudnick, opening on June 20 and running through July 19.

This riotous comedy, produced at Lincoln Center last season, centers around three delicious characters—a super-flamboyant Palm Beach TV host, a Jewish mother from Long Island, and a cheery Midwestern craftswoman–who collide in New York City under surprising circumstances.  The hilarious results demonstrate just where our New Century might be heading.

The New York Times raved, “if Leno and Letterman regularly scored this ratio of hits to quips, much of America would be hospitalized with late-night laughter burn!” and the New York Post wrote that, “the evening contains so many gut-busting one-liners that those with heart conditions are advised to steer clear.”

Paul Rudnick’s plays have been produced both on and off-Broadway and around the world. They include The Most Fabulous Story Ever Told, I Hate Hamlet and Jeffrey for which he won an Obie, an Outer Critics Circle Award and the John Gassner Playwriting Award. His novels are Social Disease and I’ll Take It, both published by Knopf. His articles and essays have appeared in The New Yorker, Esquire, Vogue, Vanity Fair and The New York Times.  His screenplays include Addams Family Values, the screen adaptation of Jeffrey and In & Out.

GableStage is pleased to announce a stellar cast (and directors and designers)—in alphabetical order, Sally Bondi, John Felix, Patti Gardner, Daniel Landon and Jehane Serralles.  Direction is by Joseph Adler, set by Tim Connelly, lights by Jeff Quinn, costumes by Ellis Tillman, stage manager is Kristen Pieski.

Performance times and ticket prices:

Thursday @ 8pm and Sunday @ 7pm – $37.50

Friday Saturday @ 8pm & Sunday @ 2pm – $42.50

No 7pm performance on Sunday June 21^st.

For reservations or information, please call the Box Office: (305) 445-1119

or go online at www.GableStage.org

GableStage is located in the eastern section of the Biltmore Hotel, 1200 Anastasia Avenue,

Coral Gables. Valet parking is available. Free parking is available in the

Biltmore parking area west of the hotel.