Storytelling

“CROSSING BOROUGHS” WRITE-UP by VINNIE NAUHEIMER

“CROSSING BOROUGHS”

by VINNIE NAUHEIMER

The audience at the Artists Without Walls’ presentation of “Crossing Boroughs” was treated to a scrumptious mix of singing, dancing, music, and history last Sunday afternoon at the Museum of the City of New York. Weaving together the intricate blend of the music, dance, history and culture that defined each of New York City’s boroughs, “Crossing Boroughs” showcased the magnificent tapestry that defines New York City. Combining a superb narrative, slideshows, singing, dancing and monologues, the show transported the older members in the audience back to the days of their youth, while giving the younger folk a glimpse into New York City’s past.

**Vocalists David Raleigh and Niamh Hyland**

The opening slideshow presented visual snippets of New York City, which provided the backdrop for Niamh Hyland who sang “Midnight in Harlem” with enough soul to rock a congregation. Charles R. Hale picked up from there, narrating a brief history of Manhattan and its past, his words accenting and explaining the slides flashing across the screen. This background material led to a duet, “Manhattan,” a song written by Richard Rodgers and Lorenz Hart and performed by Niamh and David Raleigh.

Jack O’Connell, while holding a Spalding, known as a “spaldeen,” recounted Brooklyn born Pete Hamill’s description of “stickball” as he knew it growing up in Brooklyn, including the fact that Spaldings were not manufactured during WWII because of the rubber shortage caused by the war effort. Growing up in the Bronx, I can attest to the fact that stickball was played with the same rules across boroughs.

**“Crossing Boroughs” creator Charles R. Hale**

Stickball transitioned to baseball when Charles shared a personal story…his father taking him to his first baseball game at Ebbets Field. It was his first chance to see the Dodgers and Charles recounted the game and the chance meeting with Jackie Robinson at a stoplight as Charles and his dad drove home from the game. This personal touch, acknowledging the importance of the father-son bonds that were formed over the game of baseball, drew the audience in as they reflected on their ties to baseball. To add to the realism of the baseball moment, midway through Charles’ story, Jack O’Connell, to the sounds of a ballpark crowd, walked down the aisles dressed as a ballpark vendor: “Peanuts, popcorn, cracker-jacks….getcha cold beer…cold beer here….soodaaa, soodaa.”

From Brooklyn’s Ebbets Field, we were transported to Coney Island when Jack O’Connell (Man of a Thousand Faces) appeared as a carnival barker from the Midway where he pitched the various sideshows that were flashing on the screen behind him. This seamlessly transitioned into the story of another carnival barker, Billy Bigelow, from the 1945 Broadway show “Carousel.” Niamh Hyland once again wowed the audience with her rendition of “If I loved You,” Julie Jordan’s thoughts on her relationship with Billie

Moving from Brooklyn to Queens, Charles took the audience to the 1939 World’s Fair and the introduction of nylon stockings, which led to the opening dance number, “Nylon Stockings.” David Raleigh sang the song, which featured the very talented young dance duo, Laura Neese and Johnathan Matthews.

**Dancers Laura Neese and Jonathan Matthews**

Continuing through Queens, Charles once again brought the audience into his early life as he recounted his fond memories of Saturdays at one of the five New York Metro “Loew’s Wonder Theaters.” A short video depicted the grandeur of those theaters, which struck a solid chord with all who had the opportunity to spend time at those theaters, regardless of which borough they hailed from.

From Queens, the show moved over to the Bronx where once again, Laura and Johnathan traversed the floor in magnificent style, dancing the Lindy Hop to Dion and the Belmonts, “I Wonder Why.” The dance scene was followed by a fascinating narrative in which Charles combined the opening of the Triborough Bridge with the concurrent history of the Randall’s Island stadium, located beneath the Triborough, and the part it played in selecting the runners who represented the United States at the 1936 Olympics in Berlin.

Every show has its highlight: This shows highlight was Niamh Hyland’s performance of the Etta James’ song “I’d Rather Go Blind.” Niamh nailed it, boxed it and delivered it to an audience that devoured every note. At the end of her song, thunderous applause spontaneously erupted as several members audience jumped to their feet paying tribute to the superb performance they had just witnessed.

**Vocalist and music director Niamh Hyland, guitarist Shu Nakamura and bassist Mary Ann McSweeney**

Once again, back in Manhattan at McHale’s Bar, Jack O’Connell took the stage to give us a sobering portrayal of a bartender speaking to an invisible customer (or the audience?) while reciting Bob Dylan’s “Desolation Row.” A poem that perfectly describes the seedier side of life–desolation–in New York.

As we headed out to the final borough, Staten Island, footage from the Staten Island Ferry with the Manhattan skyline in the background filled the screen. Accompanying the visual, David and Niamh sang “Leaving New York.” The entire experience was made complete by the accomplished musicians who provided the musical accompaniment led by renowned guitarist Shu Nakamura, drummer Shirazette Tinnin, keyboardist Steve Okonski and bassist Mary Ann McSweeney.

For this Bronx boy, who has lived and worked in New York City most of his life, this was a terrific afternoon. It is not very often you see a show that skillfully combines New York City nostalgia, song, dance, music, and fun into one package. Kudos to Charles Hale Productions and everyone that contributed to making “Crossing Boroughs” a most enjoyable show.

Crossing Boroughs was created and written by Charles R. Hale. Charmaine Broad directs the show and Niamh Hyland, in addition to being the show’s lead vocalist, is its musical director.

Photos by Mitch Traphagen

THE EXPRESSIVENESS OF SILENCE

THE EXPRESSIVENESS OF SILENCE and SPACE in STORYTELLING, MUSIC and ART

by Charles R. Hale

Recently, a few friends and I gathered in a local pub when the subject turned to “silence and space” in art. When one of my friends mentioned that he once heard Pete Seeger say, “It’s not what you put into a song, it’s what you leave out that counts,” the music of jazz great Miles Davis came to mind. When I began listening to Miles I was struck by his ability to do more with silence and empty space than any musician I had ever heard. Miles didn’t fill every second with sound. He understood the power of silence. Listen to “It Never Entered My Mind.”

Great artists have the ability to create with less, allowing us our own space to develop our own story: Francisco Goya, in his Tauromaquia series used blank canvas and shadings of grey and white to create the feeling of space. In this sketch, Goya uses empty space to dramatize the fury of a singular moment of horror during a bullfight.

Johan Sebastian Bach understood the power of silence and space as well. During Bach’s B Minor Mass, at the end of the section marked Crucifixus (Crucification), the music slowly sinks into silence, followed by a pause—a moment of contemplation, a moment of space—and then, an explosion of joy and revelation in the Et resurrext. (The Resurrection)

A year ago I received a note from a friend. “Would you read a story I wrote? Something’s missing. I’m looking for a word or words that will give the last few paragraphs more impact, more oopmh. Nothing seems to work.” I read her story and while I claim no great editorial skills, I felt the character development was wonderful, the story had great pace, from the inciting incident, which created conflict, through the midsection’s rising tension, right up until the crisis point or conflict resolution. The ending was perfect. I sent my friend a note. “I could see your character in the last scene and I understood his problem. I knew his motivations and I was there with him. You didn’t have to tell me the character was desperate or frantic, you’d done all the heavy lifting earlier. Your shorter words and shorter sentences built a moment of high drama. Your writing shows great respect for your reader; you allow them the space to be creative; you allow them the space to furnish the emotion. Less is more. In my view, that’s what often makes for great storytelling.”

The power of space and silence were never more evident to me than when I spoke before a gathering of college students and their families a number of years ago. The subject was the value of family stories. I was undecided about including the story of my mother’s sister’s death, a baby who died seven hours after she was born, until the moment I began speaking. I feared that I’d have difficultly controlling my emotions, yet, within a few minutes—I don’t know why—I started telling the story.

As I feared, her death and burial, and the emotions that the story evoked in me, were still too raw. I bowed my head and my eyes filled with tears; I had no idea how I would go on. Finally, I looked up. I was astonished. The entire front row was crying. I regained my composure. I was able to finish my story.

The events of the day became clear to me later in the evening. During the story’s build-up a number of listeners were probably experiencing a bond with my grandmother, grandfather or me. They were sharing a powerful story and many may have assumed the role of one of the characters in the story. Other listeners may have experienced the same wound and so they filtered my story of the baby’s death through their past. When I paused, the listeners may have been provided the space in which they could explore their thoughts, furnish their own emotions, and develop their own stories.

Miles Davis once said, “‘It’s not about the space you play, but the space you leave.” Allowing for space and silence may be one of the keys to effective creative expression, not only for the artist, but the artist’s audience as well.

ARTISTS WITHOUT WALLS, TONIGHT, at THE CELL THEATRE in NYC

Artists Without Walls December Showcase at the cell theater in New York City, NY. December 23, 2014. Charles Hale, Niamh Hyland, Joseph Goodrich, Ron Vazzano, Ed Romanoff, Michael Sheahan, Nicholas Garr, Honor Molloy, Marion Stein, Grainne Duddy. — **Ron Vazzano**

“It made for an event the likes of which you will rarely, if ever, experience. A melding of artists within the walls… it was a memorable night. Yes, it was that good,” said writer Ron Vazzano about a recent Artists Without Walls’ Showcase in Kathleen Bennet Bastis’s art gallery. Ron will be opening tonight’s (Tuesday, January 26) Showcase at The Cell Theatre with a new multimedia creation.

Richard Stillman, accompanied by Flip Peters, perform a few numbers from, “The Spirit of Vaudeville,” a show that won the Best Concert Award at the 2014 United Solo Theater Festival in New York City. Richard writes and performs shows that combine music, storytelling, singing and percussive dance, and plays a wide variety of folk instruments from around the world. As an actor, Richard has performed on Broadway, the Kennedy Center, National tours, PBS Television and in regional theaters from New Jersey to Alaska. He was in “Hamlet” with Rip Torn and Geraldine Page and he performed with Ossie Davis and Ruby Dee in “Take it From the Top.”

Craig MacArthur, actor and Fitzmaurice voice work instructor, will be making his AWoW debut on Tuesday. Craig received his MFA in Acting from Rutgers University and he will be sharing a monologue from “Misterman” by Enda Walsh. The full show, which runs 85 minutes, had its Western Regional premiere in Pagosa Springs, Colorado, last year. Upcoming roles include Kaffee in A “Few Good Men” by Aaron Sorkin.

Not only does Artists Without Walls strive to bring diverse cultures together in artistic achievement, but we aim to give young performers an opportunity to step onto a New York stage as well. Performing at tonight’s Showcase at The Cell will be Izzy Levine, daughter of AWoW member Phoebe Farber, and Ella McDonald. Izzy and Ella are juniors at Montclair High School in Montclair, New Jersey and have been performing together for the past two years. We are thrilled to be presenting them to our AWoW audience.

First time presenters, “Mountain Maidens,” including Marie Mularczyk O’Connell , Candice Baranello and Lorraine Berger, are three voices blended in splendid harmonies that will lift your spirits and warm your heart. They sing ballads, folk songs, love songs, country and gospel songs, including themes of social justice, to the accompaniment of guitars, banjo, dulcimer, mandolin, spoons and castanets. Marie, Candice and Lorraine are greatly inspired by Appalachian mountain music and have brought the deep modal harmonies of this tradition to their repertoire.

AWoW regulars, actress Mary Tierney and playwright David Loughlin will be performing a scene from David’s “The Senior Case Manager, a comedy about civil service, devil’s food, red-headed rivals,space aliens, intense loneliness, and unrequited love… and all in less than twelve minutes.

Niamh Hyland and Charles R. Hale, Artists Without Walls’ Artistic Directors, will be emceeing the event. The doors and the bar at The Cell Theatre, which is located at 338 W23rd St., open at 6;45. Hope to see you there.