Category: review

The Six Triple Eight

During World War II, mail between service members and their loved ones was crucial for morale but delivery mechanisms broke down in Europe, resulting in millions of pieces of mail being stuffed into airplane hangars in Scotland.

Meanwhile, the 6888th Women’s Army Corps (WAC) battalion has been trained to an exemplary level but, despite their level of excellence, has not been assigned because it is comprised of Black and mixed-race women.

Finally, they are assigned the seemingly impossible task to go to Scotland and clear the backlog within six months. Under the command of Major Charity Adams, they use their training, skills, creativity, experience, and intelligence to complete the task in under three months. They then are deployed to France, where they clear a similar backlog.

This amazing history has now been brought to the screen, thanks to Tyler Perry, who directed and co-produced the film and wrote the script, based on an article by Kevin Hymel. Kerry Washington delivers a strong performance as the formidable Major Adams, with Ebony Obsidian touchingly portraying Lena Derriecott King, a servicemember of the 6888th who is grieving the loss of a friend who was killed in action.

While the film was released in theaters in December, most people are probably going to view it now via Netflix.

I wanted to lift up this film today in particular because the United States is commemorating the 95th birthday of Martin Luther King, Jr. A major figure in the area of civil rights, especially for Black Americans, King was assassinated at the age of 39.

I appreciated that the film includes the later history of the women of the Six Triple Eighth. Given the racism and sexism they faced, recognition of their work was long delayed.

In 2023, a military base in Virginia was re-named Fort Gregg-Adams in honor of Lt. Col. Charity Adams and Lt. Gen. Arthur Gregg, the first time Black Americans had been so honored. This was part of an initiative to finally remove the names of Confederate officers from United States military bases.

I am appalled that Pete Hegseth, Trump’s nominee for defense secretary, wants to undo the re-naming. Some other Republicans have agreed.

No.

We need to recognize, lift up, and celebrate leaders like Charity Adams.

Thank you to Tyler Perry, Kerry Washington, and all who were involved with The Six Triple Eight for bringing this inspiring story to the public.
*****
Join us for Linda’s Just Jot It January! Find out more here: https://lindaghill.com/2025/01/20/daily-prompt-jusjojan-the-20th-2025/

Fall Forever

(Photo credit: The Fenimore Art Museum website)

It was my privilege on Sunday to attend a staged reading of Fall Forever by Eva Schegulla at the Glimmer Globe Theatre in the Fenimore Art Museum in Cooperstown, NY. It was part of the NEXT! Staged Reading Series, which offers readings of new plays by regional playwrights.

Eva is a friend and fellow member of the Boiler House Poets Collective, so I was especially happy to attend and to see her. Her writing covers a wide range, including stage plays, screenplays, radio plays, fiction, essays, serials, reviews, blog posts, and poetry, some of which are published under pen names. Her blog, Ink in My Coffee, just celebrated its 20th anniversary.

I had never been to a staged reading before. The actors read from the scripts set on music stands, although there were a few instances of characters moving around a bit. Another actor read the stage directions so that we knew where and when the scenes were taking place. There were also some sound effects, although a full staging of the play would include more. Although it is structured as a 2-act play, the reading was presented all in one block, which felt a bit overwhelming but gave me a new appreciation of intermissions.

The story revolves around the aftermath of the accidental death of Lily, especially with her sister Leah and husband Alan. I especially enjoyed the performance of Sharon Rankins-Burd, who read Leah. She is part of nearly every scene and, though having the script in front of her, Rankins-Burd was able to project who Leah is as she struggles with grief over her sister’s death and additional challenges that arise.

After the reading, there was a talkback session with the playwright, the performers, and the production team. It was interesting to hear Eva talk about the growth of the Fall Forever from a prompt at a workshop with the Williamstown Theatre Festival to its current form, awaiting a final round of edits as the result of the reading to be sent out for submission calls. There were some questions that elucidated the choices Eva had made in the play and how the staged reading format had impacted the version of the piece that we experienced. It was also fun to hear choices of favorite lines from actors – and audience members!

A recording of Fall Forever by Eva Schegulla will soon be available for a limited time. I’ll share the link when it is posted. I hope you will find it to be as enjoyable and meaningful as I did. Update: The video is now available here: https://youtu.be/GSgrLP56Q3Q?feature=shared. It will be taken down in mid-June 2024.

Review: Nyad

Nyad tells the story of Diana Nyad (Annette Bening), a long-distance swimmer and sports broadcaster, who, at age 60, decided to pursue her dream of being the first person to swim from Cuba to Florida in the open ocean, a distance of 110 miles. She had tried and failed in an attempt when she was 28 but, at 60, felt her mental toughness would make it possible. The film chronicles multiple attempts to reach this goal over several years with the assistance of her friend-turned-coach, Bonnie Stoll (Jodie Foster), and a team of experts who helped with specialized aspects of the swim, such as repelling sharks and jellyfish, navigation, and nutrition.

Even though I knew historically how the film would end, there was a lot of dramatic tension inherent in the telling. I also gained a new appreciation of the hazards involved and the amount of training and behind-the-scenes work involved in a project of this magnitude.

I am not a swimmer – or athletic in any way – and greatly respect those, like Nyad, who can accomplish such amazing feats. Kudos to Annette Bening and Jodie Foster, both of whom trained extensively in order to portray Nyad and Stoll, both of whom are accomplished athletes. The film does not use body doubles; Bening is doing the swimming, even in the most extreme segments.

I also appreciated that Bening and Foster insisted on not being “touched up” so that they appear as women in their sixties portraying women in their sixties. As a woman in my sixties, I appreciated that.

I also appreciated the sense that women in their sixties are mentally tough and ready to take on challenges and achieve life goals. Also, that we have learned a lot about ourselves and about life over the years and that we are (usually) ready to be part of a group to accomplish whatever it is we want.

Even if you are not a woman in your sixties like me, I think you would benefit from watching this film, which is currently streaming on Netflix and may be in theaters in some markets. It is appropriate for teens and adults.

(Image is an official poster for the movie through fandango.com)

Review: American Symphony

Last night, B, T, and I watched American Symphony on Netflix, a documentary which followed the extraordinary musician Jon Batiste in 2022. It is also being shown in theaters.

I had loved watching Jon Batiste on The Late Show with Stephen Colbert. He and his band, Stay Human, were the house band on the show, beginning with its inaugural episode in 2015. I appreciated Jon’s talent, his ability to cross and blend musical genres, and his gentle, positive spirit. While his jazz roots were always in evidence, he would often use elements from classical music or indigenous/folk music in his compositions, arrangements, and improvisations. During the early part of the pandemic when the show was being produced remotely, Jon would often still have a segment with Stephen where they would talk from their respective homes and Jon would play a bit on his piano or sing. Even though things were very different, it was a comfort to hear Jon’s expressive, calming voice in a difficult time.

Jon always had multiple projects going on, including performing, recording, and composing. For example, he won an Oscar for best original score as one of the composers for Disney-Pixar’s Soul in 2021. 2022 was set to be another busy, productive year for Jon Batiste, which director Matthew Heineman set out to document on film.

Jon was preparing to premiere his “American Symphony” which would bring together elements of influence of his and American music on stage at Carnegie Hall for a one-time-only performance. He was about to be nominated for 11 Grammy awards across an array of genres. There was still his Late Show gig.

And then, his long-time partner and soon-to-be spouse, the writer/author Suleika Jaouad, had a recurrence of leukemia after ten years in remission and American Symphony transformed from being a documentary about a composer and his music into a film about love, life, living, and how art expresses that all, helps us to process, and propels us forward.

The openness of Jon and Suleika in showing us their pain, anxieties, and vulnerability, as well as their love, art, and joys, is incredibly brave and moving. It was upsetting to me to hear that Jon faced a lot of criticism and negative comments about his eleven Grammy nominations – and eventual five wins, announced while Suleika was beginning chemotherapy. It just seemed so mean-spirited to inflect on a gentle soul at such a vulnerable time. I had known that things were stressful for Jon because he needed to end his years as band leader at The Late Show, but I hadn’t realized the extent of the situation until watching American Symphony.

While being a musician or music-lover will add to your appreciation of this film, it is certainly recommended to all teens and adults who are open to honest expressions of the human condition. It is not for younger children, who might be upset by the intensity of the medical side of the story.

My best wishes to Jon and Suleika for many years of love and art to come. Thank you for sharing so much of yourselves with us.

Photo by Denise Jans on Unsplash

Review: Barbie

The Barbie doll first appeared for sale in 1959, the year before I was born. As a child, my sisters and I played with some Barbie dolls. I remember that we had Barbie, Francie, and Skipper, who was my favorite because she was a pre-teen, like me. (We also had Ken, but he was superfluous.) Our Barbies had a lot of clothes, some made by my grandmother, but these were the days before there were tons of accessories.

My daughters also had some Barbies in the ’90s. There were Barbies, Teresa, (non-pregnant) Midge, Skipper, Stacie, and Kelly and friends. While there were lots more dolls and lots of accessories available, we didn’t have too many. There were not a lot of career-oriented Barbies at that point, although I remember T, in her imaginary play, creating a scenario where Barbie had a high-paying job because she liked expensive clothes and things but that she gave money to her sister who worked for a charity that helped people. What was important for T was that she had a gymnast Barbie and a couple of ballerina Barbies who could bend their arms and legs, pose, and twirl; T took dance classes and appreciated Barbies who were not stuck in one position. (They also had twin Kens, who were often cast as father-figures to the younger children in the Barbie universe.)

Yesterday, B, T, and I went to a movie theater together for the first time since before COVID to see Barbie. We had all seen the trailers and were expecting an entertaining movie and it did not disappoint. Greta Gerwig, the director and co-writer, along with Noah Baumbach, delivers a film that is multi-layered and attentive to detail. Margot Robbie is amazing as “stereotypical” Barbie who is forced to confront real-world stereotypes and the patriarchy. Ryan Gosling is well-matched as the sometimes clueless, sometimes superfluous Ken. I also enjoyed Simu Liu’s performance as a rival Ken.

While I had expected some laughs – and there were many – I had not expected tears. The story and dialogue of Gloria, tenderly portrayed by America Ferrera, was especially moving for me. I also appreciated the wisdom of Ruth, delivered by Rhea Perlman.

While we tend to think of movies based on toys as being for children, Barbie is not. It is rated PG-13 for good reason. Many tweens would enjoy it, while probably missing some of the social commentary in the film; younger children would most likely find it confusing.

Barbie‘s blockbuster status proves that many, many adults and teens are seeing and enjoying this film. Greta Gerwig has already set box office records for films directed by a woman. Maybe, someday, it won’t be remarkable to point out the gender of a film’s director.

Someday…

(Photo by Elena Mishlanova on Unsplash)

Review: The Miracle Club

Do you believe in miracles?

Would you recognize a miracle if you experienced one?

In The Miracle Club, four women from three generations, played by Maggie Smith, Kathy Bates, Laura Linney, and Agnes O’Casey, travel from 1967 Dublin, Ireland to Lourdes, France, in search of miracles.

The women share a complicated history which viewers discover as the movie unfolds.

All of this occurs within the context of Catholicism and Irish family structures that resist women having full agency over their lives. All of the women have suffered losses and are in need of healing but will the waters of Lourdes provide them with the miracles they seek?

People tend to think of miracles as sudden events, where individuals are immediately and fully restored to health. Even at Lourdes, the film points out, those kinds of miracles are rare.

But healing is possible when women, though burdened with their own struggles, support and strengthen each other.

I believe that these are miracles, too.

Review: Encanto

When we went to the UK to visit our family for the holidays, four-year-old granddaughter ABC watched the Disney film Encanto frequently. I was impressed with it but hadn’t realized how popular it had become until after we returned to the US and it seems that I run into commentary on it several times a week, including news that the soundtrack and individual songs from Encanto have been appearing in high positions in the Billboard charts.

For the few of you who may not know, Encanto tells the story of the Madrigal family from Columbia who use their magical gifts to help their community. Granddaughter Mirabel appears not to have been given a magical gift but her strong love for her family and their home powers the story.

Much of the commentary that I’ve seen concentrates on how important it is to have this portrayal of a Latinx family and story, along with inclusion of Spanish in the dialogue and songs. I agree with this point but want to note some other ways that this film feels inclusive to me. As someone whose family is racially diverse, I appreciate that the Madrigals have Indigenous and Black roots, as well as (presumably) European. As someone who wore glasses from a young age, I love that Mirabel wears glasses. I could get all metaphorical about clarity of vision, but I won’t. It’s just nice to see a positive portrayal of a girl who wears glasses in an animated movie.

The biggest point of inclusivity for me is the complexities of the family relationship. The most popular song in the soundtrack, the ensemble piece “We Don’t Talk about Bruno”, reminds me that my own family had an uncle that was seldom mentioned for mysterious reasons. We see Mirabel and her non-magical father struggle with finding their place within the family, which is a familiar issue in many families, for example, when a very sports-oriented family has a member who would rather be singing in the chorus than out on the field with a ball.

We also see the double-edged sword of trying to live up to family expectations. While it’s admirable that members of the family want to use their gifts to serve the family and the community, it’s all too easy to see each only for that one gift and not for the complex being that they are. This leads to feeling that it is only that gift that makes you valuable or loved. The clearest expression of this is “Surface Pressure”, the song that Mirabel’s sister Luisa sings. Luisa’s gift is that she is very strong, so she is much in demand at home and in the village. The song shows how difficult it is to deal with the pressure of those demands and her own worries and insecurities. She sings, “Under the surface/I’m pretty sure I’m worthless if I can’t be of service.” Ouch. How often in our families do we pigeonhole someone in a specific role, overlooking other attributes and gifts they bring? How often do we take for granted the work that someone does or make it seem that they are only valuable in what they can do, not in who they are as a person?

To me, among Mirabel’s gifts are love, thoughtfulness, insight, curiosity, caring, and truthfulness. None of them are “magical” but the results of them can be miraculous.

They can be for our own families and communities, too, if we honor those gifts and each other as Mirabel does.
*****
Join us for Linda’s Just Jot It January! Find out more here: https://lindaghill.com/2022/01/21/daily-prompt-jusjojan-the-21st-2022/

40+ years of “A Christmas Carol”

On Sunday, T and I went to see a production of A Christmas Carol at Cider Mill Stage. This particular staging of the Charles Dickens classic was first conceived and produced in 1979 by Binghamton University professor John Bielenberg and the original cast as a play within a play, with the actors performing the story in the bedroom of a child who is recovering from an illness and must avoid crowds, something that seems even more ominous in our current pandemic days. Fortunately for the actors, there is an adjacent (and oddly well-stocked) attic that affords costumes and props for the impromptu performance, although one of the charms of the show has always been seeing a few caps and scarves and capes re-purposed to accommodate a range of characters and uses. A scarf is not just a piece of clothing but can also be a leash for a dog or the reins for a shaggy pony.

When T and I arrived, we were surprised and pleased to find a poster listing all the known cast and crew members of A Christmas Carol over the decades. This included T and her sister E who played the sick child, which also involves portraying Tiny Tim, for nineteen performances each in the late 1990s-early 2000s. E was in the cast the last year that John Bielenberg played Scrooge before his retirement. T’s Scrooge was Bill Gorman, who was also a member of the original 1979 cast. Their productions were directed by Tom Kremer and Carol Hanscom, also original cast members.

Because of our familiarity and past experience, the Cider Mill production of A Christmas Carol has continued to be close to our hearts but the performance Sunday was even more emotional. Tom Kremer, who is now portraying Scrooge, came out before the play began to dedicate the performance to Claus Evans, original and long-time cast member who had recently passed away. Claus had played the Ghost of Christmas Present, Mr. Fezziwig, and other ensemble characters for most of the first forty years. He had a commanding stage presence and a powerful voice, especially when singing. This version of A Christmas Carol, while not a musical in the traditional sense, does involve a fair amount of incidental music, both traditional pieces and new music composed by original cast member Susan J. Peters and current cast member Ken Martinak. I admit that I teared up during the Fezziwig party scene, remembering the brio with which Claus sang “Wassail! Wassail! All Over the Town”.

While not able to match Claus’s singing prowess, Brad Morgan did a fine job with Fezziwig and Ghost of Christmas Present. His first year in the cast was the year that E was in the production when he was quite a young man. I remember him struggling in rehearsal to accurately deliver the Dickensian language of the ghost of Jacob Marley. I was particularly impressed with his portrayal now, which has a chilling depth and pathos. Brad also deserves a lot of credit for keeping the production alive during some years of upheaval at the Cider Mill after the original Cider Mill Playhouse closed. Thankfully, the play is now back in the space for which it was designed under the name Cider Mill Stage. And yes, there is a cider mill in the front of the building, active in the late summer through early fall. The theater area was originally a storage space for apples.

I hope that A Christmas Carol will continue to grace the Cider Mill and the Binghamton area for decades to come, spreading its message of the importance for caring for one another, regardless of the season of the year.

“And, as Tiny Tim observed, ‘God bless us, every one!'”

Review: A Secret Love

I grew up in a rural area where television was purely by antenna, although we received NBC, ABC, and CBS, the three major networks at the time, which was a luxury. I’ve never been able to keep up with the increasingly complicated media landscape of cable, premium channels, satellite, and streaming options. I’ve gotten used to reading lists of Emmy nominees of shows I have never seen and to which I don’t have access. I usually can’t even keep track of what show or movie is being offered on which platform.

I do occasionally happen upon a recommendation that I can follow through on viewing. I was reading a list of awards geared for older adults from AARP which included the 2020 documentary A Secret Love. It is available through Netflix, the one streaming service to which we are currently subscribed, so spouse B, daughter T, and I settled in one evening to watch it.

A Secret Love is the story of Pat Henschel and Terry Donohue, two Canadian women who fell in love and made a life together in the United States where Terry had played baseball with the Peoria Redwings of the All-American Girls Professional Baseball League. While family back in Canada knew the two were close friends who shared a home, they did not know that they were life partners for many decades. While the film does give us their remarkable personal history, the documentary concentrates on their later years, as they face Pat’s illness and decisions about where to live.

Having dealt with the issues of serious illness, financial and legal complications, and housing decisions with B and my parents, I found much of what Pat and Terry were facing relatable. The complexity of the family dynamic, the cross-border legal issues, and the fact that, while Pat and Terry had been a couple since 1947, they did not have the protection of marriage when it came to things like hospital visitation added even more poignancy to an already daunting situation.

What comes through most clearly, though, is the depth of their love for one another. I am always moved by couples whose bond is so strong that it weathers decades of life together and Pat and Terry’s story is such a beautiful example of that. I will warn you that if you, like me, are inclined to teariness, you may want to have your handkerchief handy.

I will also say that, while the story is about elders, it also holds meaning for younger adults. T loved the film as much as I.

Stephen Sondheim’s 90th birthday tribute

Last night, my family had hoped to watch a livestream of a special birthday celebration for composer/lyricist Stephen Sondheim in honor of his 90th birthday. The performers were all in their own homes and there were pretty massive technical difficulties which delayed the start for two hours. It was too late for us to watch live, but T and I were able to watch it on youtube today:

I loved it!

There are performances from generations of Broadway stars, some jaw-droppingly amazing given the unusual circumstances, all heartfelt. Most of the songs were well-known, but several were less so. It was a tribute to Sondheim’s incredible range as a composer. While a few were more light-hearted selections, most were poignant, which is a quality I notice often in his songs.

The first Sondheim musical I saw was a community performance of Company when I was in high school, which seemed very adult and sophisticated to my small-town teenage self. I most associate Sondheim, though, with my daughters.

We had a video recording of Into the Woods, which was a favorite of E’s when she was young. She especially liked singing Little Red’s “I Know Things Now.” When T was old enough to watch with her, we would only let her watch the first act. (If you know the show, the first act ends with what could be construed as “happily ever after”; the second act gets dark pretty quickly.) This worked for a little while, until E told T the rest of the story and we relented and let her watch the whole thing, which she did not find upsetting. I guess that the non-bowdlerized Grimm version of fairy tales, which involve quite a lot of mayhem, endure for a reason that I had not hitherto fully appreciated.

T’s favorite Sondheim musical became Sunday in the Park with George. She and E would often break into Sondheim songs around the house, just for the joy of singing. And they sang them very well, which is an accomplishment, because Sondheim is very difficult to sing accurately. T and I especially liked a video clip in the tribute of a young Iain Armitage singing “Finishing the Hat.”

E and T often did summer workshops at our local playhouse, some of which involved singing. Sometimes, Sondheim worked his way into those performances. I especially remember that in summer of 2001, E sang “Not While I’m Around” from Sweeney Todd. A few weeks later, when the 9/11 attacks occurred, I found the memory of her singing that song oddly comforting. “Nothing’s gonna harm you, Not while I’m around.” Not that I thought her singing would protect us from terrorists, but that sense of caring and sheltering resonated in those circumstances.

“Not While I’m Around” was part of last night’s concert, too. It and several other selections that have that same poignancy of love, protection, and care brought tears to my eyes.

The power of music.

Happy Birthday, Mr. Sondheim, and thank you.