It Takes a Village…Oops, We Just Destroyed the Village

If you’re in the mood for a journalistic dive into why we Americans—so long-lived on the top of the socioeconomic heap—are in such a tangle of anger and division, I recommend Derek Thompson’s cover story in the February 2025 edition of The Atlantic, “The Anti-Social Century.” As if it’s not bad enough that we’re likely screwed by nuclear war or environmental devastation, viral resistance or End Times revelations, it seems we may simply do ourselves in by being the most self-serving, narcissistic, inward-focused creatures this planet has every tolerated. And we’re getting worse.

I have long subscribed to the theorem that what we buy with our affluence is privacy. Mr. Thompson’s article reinforces our preference for privacy over interaction at every possible opportunity. Since the 1980’s, by every measure, we spend more time alone, at home, on our devices. The trend spiked during the pandemic, but has not abated since we’ve had the ‘all clear’ to breath collectively again. Accordingly, we enjoy/endure less face-to-face time than ever. We are less and less content, let alone happy. And yet we do basically nothing to break out of our isolation.

The article is rich in amusing factoids, like the way many restaurants have repurposed bars (formerly places of communal gathering) into take-out delivery counters as their take-out business explodes in direct proportion to the shrinking numbers in their dining rooms. To be fair, Mr. Thompson points out some positive aspects of our solitary existences. How our devices actually make connections among core family and friends deeper, more continuous. And how those devises also enable us to find affinity groups, no matter how esoteric. But on the whole, “The Anti-Social Century” is pretty much 2000’s Bowling Alone updated in accordance with the worst possible scenario.

The stats are gruesome, the outlook bleak, but I did find one potentially useful nugget. Not so much a germ of hope as a framework for understanding our increasingly isolated society. After all, the better we understand a phenomenon, the better positioned we are to address it.

Marc Dunkleman, author and professor, describes our social world as three rings. The inner ring is our family and close friends. Our ring of intimacy. It is where we learn love. The outer ring is our tribe. It’s where we find broad commonalties. Where we learn loyalty. Each of these rings is affected by our physical isolation and device-dependence, but they can still flourish.

The middle ring is the village: our neighbor; our PTA; our children’s little league team; our local church; our veteran’s group. It is the people who are physically proximate, yet not intimates. Folks we knew in abundance a hundred years ago, during the heyday of American civic organizations. But in our era of spiraling downward engagement in any kind of localized group activity, the village is the most frayed remnant of social fabric.

Since we live in a world where physical connection is less and less important, why do we care if the village gets lost? Because of the most fleeting quality that Dunkleman attributes to the social ring of the village. Tolerance. In the old days, we had to get along with the people near us. We needed to be able to depend on them (at the very least in emergencies), and so we learned how to hold our tongue, muffle our opinions, cool our jets. Because it was more important to get along with our neighbor, than to agree with them.

Way back, when Hillary Clinton was First Lady, and her biggest faults were whether to claim “Rodman” in her name or channel Tammy Wynette in, “Stand By Your Man,” Ms. Clinton wrote a book, “It Takes a Village.” A bit of pop philosophy every bit as cheesy and as it is true.

It takes a village to support human life, to learn the kind of ‘give along to get along’ cooperation that brought us to the apex of the food chain in the first place. And if we keep disregarding the qualities that make up a village: mutual tolerance, respect, forbearance; our humanity is doomed.

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ART and Hedda Gabler: More Great Boston Theater

ART

Playwright: Yasmina Reza

Translation: Christopher Hampton

Director: Courtney O’Connor

Lyric Stage Boston

February 21- March 16, 2025

Photo courtesy of Lyric Stage

Three long-time friends come to blows—perhaps—when one of them purchases a quite expensive piece of abstract art. ART is not for everyone. It’s got a peculiar plot. It’s a play of talk, more talk, and redundant talk. It’s white-on-white canvas triggers insecurities and prompts altogether too much relationship discourse. It’s a bit of Becket’s aimlessness, a bit of Ionesco’s absurdity, a bit of preciousness only the privileged can indulge. But the language is so delicious, so entrancing, that all can be excused. After all, these are not American men, sitting shoulder-to-shoulder at a bar, watching some sport on a screen. These are Frenchmen. Thus we savor how they dissect themselves and their purpose and their entanglements with the same precision of teenage girls everywhere.

ART premiered in Paris in 1994, and subsequently played in London, New York, and all over the world. It’s won Moliere’s and Olivier’s and Tony’s. It’s been translated into twenty languages. It’s a contemporary masterpiece. And this production delivers all of ART’s strengths with gusto.

The set, of course, is white and spare. The men’s clothes, of course, are muted. The lighting is alternately too vague and too bright. But the acting is consistently brilliant. Remo Airaldi, Michael Kaye, and John Kuntz are three of Boston’s finest actors; each of them in full flame. The audience sits transfixed for ninety minutes as three humans try to understand themselves and their interconnections to a remarkable depth. When it’s over we are enriched in the potential and complexity of human coexistence. Then we step into our world, where everything is siloed into digestible, mostly inaccurate sound bites. And we crave ART.

Parker Jennings as Hedda Gabler. Photo courtesy of Apollinaire Theatre

Hedda Gabler

Playwright: Henrik Ibsen

Director: Danielle Fauteux Jacques

Apollinaire Theatre

February 21- March 16, 2025

Paola Ferrer and Conall Sahler. Photo courtesy of Apollinaire Theatre

If you’re hankering for a truly timeless classic, find your way into the labyrinth of angled streets known as Chelsea, climb two hefty flights up into the former Odd Fellows Hall, and enter into the candlelit shadows of Apollinaire Theatre’s production of Hedda Gabler. I’ve seen enough Ibsen to know this would be no lark in the park, but I was amazed anew at Ibsen’s insights into contemporary life. When he wrote A Doll’s House in 1879, Ibsen allowed heroine Nora to escape her stifling life, albeit at great cost. By the time Hedda comes along in 1890, she enjoys no such luck. Bored. Bursting with undirected energy. Bored. Dismissed by all except for her looks and charm. Bored. Hedda has nothing to look forward to and so—well-known spoiler alert—she takes an early exit.

Apollinaire’s production is exquisite. The set, the costumes, the pacing are all dignified, elegant, and constricting. Parker Jennings, as Hedda, lets loose only a few times, and only when no one is present to see her frustration. Conell Sahler as her devoted, dithering husband is terrific. Paola Ferrer as Aunt Julianna is crisply clueless of her baffling new niece.

In 2025, Hedda Gabler is more than theater. It’s a cautionary tale. As our society slides backwards, and intimations of A Handmaids Tale feel uncomfortably close, god forbid we return to the skewered perspectives of Victorian Europe that Ibsen so keenly dissects.

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A Very Important: Man of No Importance

A Man of No Importance

By Terrence McNally

Music and Lyrics by Stephen Flaherty and Lynn Aherns

Directed by Paul Daigneault

Speakeasy Stage Company

February 21-March 22, 2025

Kathy St. George and the Cast of A Man of No Importance. Photo by Nile Scott Studios.

Thirty-three years after founding Speakeasy Stage, and growing the company from navigating around the columns of the black box theaters in the basement of the Boston Center for the Arts to moving upstairs as the resident company of the Roberts Studio Theatre, Paul Daigneault is stepping down as Artistic Director. Directing A Man of No Importance as his final Speakeasy show is both an act of nostalgia and a demonstration of a director at the top of his game. The show is terrific!!!

During his tenure, Paul has produced many LGBT-themed plays, numerous musicals, and several plays by Terrence McNally. A Man of No Importance embraces all of these attributes, with an ensemble cast that collectively include over one hundred years of Speakeasy Stage experience. Will McGarrahan has been in twenty-two productions, Kerry Dowling’s been a favorite since the days of Batboy, and Kathy St. Georges has been hysterically Ruthless! season after season.

A Man of No Importance, originally a 1994 film starring Albert Finney, takes place in Dublin circa 1963. Alfie is a single man living with his sister. A bus collector by day, a thespian by evening, Alfie is blessed with a wicked love of art and Oscar Wilde; a closeted gay man before that was a meaningful term. The musical premiered in New York in 2002, and most recently revived in 2022. Speakeasy Stage produced the show in 2003, though this production is quite different in how it fuses the actors and orchestra.

Speakeasy’s set is a pub, with a traditionally Irish back wall of books and booze. Or maybe it’s a church, with its prominent stained glass of Christ. Or perhaps it’s an homage to Oscar Wilde, who’s own stained glass sits just lower left of the Lord. The band sits in front of the bar. A few full-time players, with the actors filling in on all sorts of instruments. The stage proper is busy place, what with a cast of fifteen playing various Dubliners and infiltrating the band. The movement flows smooth and continuous as a good pint among mates.

Eddie Shields and Will McGarrahan. Photo by Niles Scott Studios

A Man of No Importance is not a great musical, but the play’s warmth and humor highlight the Irish reality that singing is to be shared, not showy. There are no great song and dance numbers, but the novelties (“Books” and “The Cuddles Mary Gave”) are hysterical; and they make the heartache of “Love Who You Love” all the more wrenching.

Every member of the ensemble cast shines. The Dubliners’ humanity triumphs over the Catholic Church’s repression. Every moment of this fine production proclaims everyone is welcome.

Please, come. Join the community. Celebrate. Hurrah for Speakeasy’s triumph!

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The Grove

The Grove

By Mfonsio Udofia

Directed by Awoye Timpo

The Huntington

February 7 – March 9, 2025

Abigail C. Onwunali in The Grove. Photo by Marc J. Franklin

Upon entering the Wimberly Theater in Boston’s South End, you encounter a basic living room. Could be the set for a sitcom. But instead of walls displaying family photos or an art reproduction, the edges of the space are defined by thin metal poles (think electrical conduit) receding into hazy depth. In juxtaposing the familiar and the mysterious, the set of The Grove perfectly represents the play itself, which is both universal in portraying familial tensions at the dawn of the era of individual technology, and specific in unveiling the dissonance between the material and mystical within one Nigerian immigrant couple and their first-generation American children.

The Grove is the second of the nine play Ufot Family cycle. The first play, Sojourners is a chamber piece. The Grove is a bigger production in every way. A large cast, vibrant costumes, evocative lighting, and complex themes of identity and connection. The recent immigrants in Sojourners were simply trying to survive. More than thirty years later, the central characters of The Grove are reaching beyond food and safety, towards love, belonging: esteem.

It’s 2009 in Worcester, MA. If you know the backstory, that’s all good. (Back in 1978, Nigerian immigrant Abasiama left her newborn baby with its no-good dad in Houston while the messianic student Disciple was convinced his union with Abasiama was heaven sent.) But if you missed Sojourners, no matter. Disciple married Abasiama and completed his PhD. Abasiama became a research scientist. They have three children. Disciple’s rigidity has led him to be less-than-successful in work and his constant rants drive his children deeper into their music and their phones rather than debate ad nauseum how to make Nigeria rise. Abasiama, moderate in every respect, is the primary breadwinner and homemaker. Whatever intimacy may have existed between Disciple and Abasiama is long gone. All that seems left is projecting their dreams onto their children, who shrug the burden.

Adiaha, first born, is home from New York where she recently received a Master’s in Creative Writing. Time for a party! Which means men pontificating politics while women cook and serve and the children try to escape. The play gains traction when the set rotates and, beyond the thicket of poles, we enter Adiaha’s childhood bedroom and the reasons for her discontent become clear. Adiaha has a female lover in New York; she cannot reconcile her family with her desires. She starts writing wild, illegible stuff, prompted by shadows that emerge within and among the poles: Nigerian women from a world Adiaha has never experienced. It’s confusing, but also engaging. The audience hangs on to every utterance it cannot understand.

Janelle Grace and Ekemini Ekpo as Shadows in The Grove. Photo by Marc J. Franklin

The Grove suffers a few hiccups. When speaking of America, Director Awoye Timpo lines the actors across the stage and has them deliver lines in a stiff, pageant style, only allowing them to be fully expressive about Nigeria. It’s a subtle and unnecessary affront to the country these characters chose, and like all too many immigrant stories, glorifies the place that was in fact so difficult that it prompted exodus. The device makes even less sense for the children, for whom Nigeria is only an idea. Similarly, the men are unidimensional while the women are full-fleshed. There is so much Disciple, and he is all the same note. Mfonsio Udofia is a gifted playwright who infuses humanity in characters that most resemble herself. She will be a great playwright when she can infuse all of her characters with the breadth that resides within each of us.

The set spins several times as Adiaha betrays her lover, and then her family. Until, ultimately, she comes to terms with herself, and consequently her family and her lover. I will not disclose the resolution except to say it’s beautifully honest, appropriately hopeful, and leaves enough loose ends to make me eager to see the next Ufot play.

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Catalyst Collaborative at MIT: 20 Years of Great (and not so great) Theater

SPACE

Central Square Theater

January 30-February 23, 2025

SPACE at Central Square Theater

This theater season marks the 20th anniversary of the Catalyst Collaborative @MIT, an endeavor to create and present theater that deepens public engagement with science, in conjunction with Central Square Theater (CST), located only a few blocks from MIT’s campus. Over the past two decades Catalyst Collaborative @MIT has commissioned five new plays and staged 35 productions, including ten world premieres.

The idea behind the collaboration is terrific; the execution is sometimes brilliant, sometimes clunky. The challenge with any art form that seeks both to engage and educate is how to balance the pedagogy with the entertainment. We are attending theater, not a lecture. We want to be immersed in a compelling story. Hopefully, we’ll be inspired. God forbid, we’re preached upon.

I’ve seen many Catalyst productions. The Women Who Mapped the Stars (2018), and Ada and Machine (2022) were extraordinary pieces of theater in which the science was beautifully woven into drama gripping as any Ibsen. Last season’s Beyond Words was a gem. Despite scant dramatic arc, the spirit was so uplifting, the staging so clever, and Jon Vellante’s parrot so engaging, the audience was swept away.

The current CST production, SPACE, is not as successful as those predecessors, though it has several redeeming qualities. The show is, broadly speaking, about mostly forgotten female aviators. More specifically, it focuses on the Mercury 13, female pilots circa 1960 who participated in a parallel series of (secret) tests to evaluate the potential of enlisting female astronauts.

Act One is mostly successful. Six women play various Mercury 13 participants. Catharine K. Slusar is terrific as Jackie Cochrane, the founder of World War II WASP’s, who underwrote the testing even as she was deemed too old for consideration. Oddly, the most dynamic actor in the play is the single male. Barlow Adamson plays JFK with great aplomb, as well as the NASA doctor, a Senator chairing secret hearings, and any other dick basically getting in the way of female empowerment. Like many an exposition play, there’s a whole lot of direct audience address, but it works fairly well because the direction is sharp, the lighting effective, and the sound design terrific. At several points, a trio of actors arrange themselves to actually become the various machines NASA puts the women through. This creates successful choreography while visually representing the women working together towards a common goal. Unfortunately, Act One ends when some bad man cancels the whole project, and the audience breaks for intermission with no idea where the play’s headed.

Catherine K. Slusar and Barlow Adamson in SPACE. Photo courtesy of Central Square Theater

Unfortunately, I don’t think the playwright knows either. Because, frankly, Act Two is a muddle. It’s 2021, but there are flashbacks to 1962 and flash forwards to 2121. We are immersed in a One Hundred Year Space Exploration Project. We are going beyond the moon, beyond Mars, all the way to the stars! And, along the way we are going to completely overhaul society (i.e. capitalistic patriarchy). Everything that was sharp and interesting in Act One is now chaos. The choreography becomes frantic running. The dialogue degenerates into staccato shouts of “Fusion!’ “Fission!” “Forward!” that strip any rigor or nuance from science or sexual politics. The actors change identities and timeframes so often the audience has no idea who’s who or where’s where, but perhaps it doesn’t matter because we’ve long since ceased to care. Even Adamson’s spot-on impersonation of Trump can’t salvage the mess.

Not to worry. SPACE is not lost. There’s plenty of good stuff to salvage from this premiere. Hopefully, the LM Feldman and Larissa Lury, the writer/director/creators, will be brave enough to step aside from material they love perhaps too much, invite some seasoned theatrical talent to cut, edit, and refine the overlong, confusing piece into a unity that contains the energy and discipline that every strong and brave female aviator of the 1960’s had to possess.

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Like a Pair of Gay Oligarchs on Charade

I have simple tastes. I prefer routine over surprise; water over wine; the train over the plane; the potato over the steak. I’d make a good monk, if I believed in a Supreme Being deserving of worship. Fortunately, those around me like their creature comforts, and sometimes they draw me into their thrall.

The Author at Raffles Long Bar for Afternoon Tea

Last December my housemate mentioned—in all innocence—that he’d like to have afternoon tea at Raffles. For all I knew Raffles was a new MassLottery game. Turns out it’s a chain of uber high-end hotels, the original dating to Singapore 1887 and named for Sir Thomas Stamford Raffles, founder of that modern nation-state. A much more recent addition to the Raffles line is a glass tower in Boston’s Back Ba

Always in search of the right holiday gift for a housemate who has pretty much everything, a reservation for afternoon tea at Raffles Boston seemed just the thing. On a freezing cold February day of crystalline clear sky we ventured into the mid-afternoon city. We entered the boutique-scaled lobby with its Chihuly-esque ceiling, mentioned our reservation for tea, and the hostess smiled, “Yes, Mr. Fallon. We are expecting you.” I’m always a little creeped out by people knowing my name without mention.

Up the spacious elevator to the 17th floor sky lobby. (Architecture nerds can learn why the lobby is on the 17th floor. Everyone else can just read on.) More elegantly coiffed people. All of whom seem to know my name.

Long Bar at Raffles Boston is not very long, though the marble slab is plenty opulent. The room has very tall ceilings, full windows to the south, and serpentine banquettes that I sank right into. The place was mostly empty (after all, it is three p.m. on a Wednesday afternoon) but no so empty as to be resonantly awkward. Twenty-foot-high sheer curtains kept the sun’s glare at bay, while preserving the distant outline of the Blue Hills.

Our table was preset. Our waiter appropriately hospitable and unintrusive. None of this, “My name is Jason and I’ll be your server today.” The distinction between customer and staff at Raffles is clear.

The tea menu was extensive. We ordered our first pots. Chai for me; a floral mix for my housemate. Each steeped for the recommended time, then infused our bellies with winter warmth. Thereupon our delectables arrived. Eleven pair of delicacies, spread among three dishes encased in an open cage. A top plate of breadstuffs, a bottom plate of savories, a middle plate of sweets.

The Savories

We enjoyed our selections in order of breads, then savories, and finally sweets. Between each delight we sipped our tea, in no hurry whatsoever. Every item was delicious; some were extraordinary. The scone, perfectly rough, came to life smothered with coddled cream and pear jelly. The deviled egg, marinated to a purple was filled with scrumptious lobster. The caramelized cream puff lined with dark chocolate and topped with tangerine: incredible.

More than an hour passed in genteel sips and idle bites. We were, by far, the oldest and best dressed gents in the place, evidence that we took our afternoon tea seriously. Languishing in such opulence in the middle of the day made it seem all the more extravagant. I likened ourselves to Bill Murray and Scarlett Johansson spinning time Lost in Translation. Also to a pair of gay oligarchs charading as winners atop the Trumpian world order.

Sometime after 4:30 the sun was far enough past. The immense drapes opened mechanically to reveal a splendid afterglow. The immense chandeliers came to soft life. The bar started drawing post-work patrons; exuberant in their business conquests. Tea gave over to bourbon. It was time to go.

The Sweets

If my housemate had never planted the seed, I might never have gone to afternoon tea at Raffles. I may never go again. It is as ridiculous as it is wonderful. An experience I’d never want to make routine, yet totally memorable. Not as remarkable as holding your ten-minute old daughter, or attending your son’s doctoral defense. More akin to seeing Picasso’s “Guernica” at MoMA, cycling the base of the Tetons, watching the sun drop into Bay of Gonave, or witnessing Bette Midler channel Dolly Levi. A one-time, illuminating immersion.

Also, a pretty neat way to spend a cold winter afternoon.

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Life in a Nation of Tariffs

I woke up in the early morning hours after President Trump’s China/Mexico/Canada tariff skirmish. My first sleepless hours of national angst since his election and inauguration. Pretty good, compared to the angina I know others have endured.

Perhaps the reason this round of Trumpian chaos bothered me is that I know a thing or two about living in a nation that runs on tariffs. Not one of those gold-plated oligarchies like Hungary that our president likes to emulate so much. Rather, one of his so-called sh*thole countries. Haiti.

Photo courtesy of Rolling Stone

It’s been more than a decade since I was in Haiti. At the time, the world was focused on helping the earthquake ravaged nation, and I was one ray in that laser focus. Alternating bi-weekly between the U.S. and Haiti for over a year, I was always stymied how to describe the Magic Island to Americans. People asked questions like, “Why have they cut down all their trees? Or, “Why can’t the police maintain order?” My favorite was, “What do people do for work?” A regular job in Haiti is the exemption rather than the rule; the police are more than less corrupt; the trees have all been cut down to create charcoal to cook. Yes it is shortsighted. But if there was only one tree standing between you and hunger, you’d cut it down as well.

We Americans take order and prosperity for granted. So much for granted that we elect a disrupter like Donald Trump as our leader without truly considering the impacts of the radical changes he proposes. Most of his MAGA agenda is rooted in a nostalgia for the 1950’s: white men in control; women in subservice; colored people out of sight and mind; gay people in fear; and trans people barely even invented. But his tariff threats toss us much further back in history. All the way back to the Eighteenth Century, which though often referred to as the Age of Enlightenment, was also the era of pirates.

Haiti is a country that runs on tariffs. There is no income tax, as there are few jobs. There is no sales tax, as most economic activity is barter or cash. There are no property taxes, as property ownership is a precarious thing. What’s left to fund what little government exists: tariffs.

The United States—the wealthiest nation in the world—doesn’t like to be compared favorably to Haiti—the poorest country in the Western Hemisphere. Yet, we have one important economic similarity. Both countries are big time net importers. With more goods and services coming in than going out, tariffs are an appealing idea. But tariffs are ripe with downsides. Corruption. Opacity. Inequity.

Every time we entered Haiti, laden with whatever materials we could pack into hockey bags, we played the arbitrary dance of import fees. Sometimes we’d be waved through as good-natured humanitarians. Other times, guys in uniforms with guns on their hips rifled through our stuff before they let us go. Still other times they’d quote a fee. $100. $250. We always carried a stash of US bills, in anticipation of this arbitrary process. We handed over greenbacks on demand, without the least pretense from either palm that the money was funding legitimate purpose.

Our president likes to frame tariffs as patriotic and independent. But really, tariffs are reactionary and isolating. They illustrate complete denial of the interplay that defines our global economy. There may be reasons to impose tariffs on certain items from certain countries who are not fair-trading partners. But broad tariffs on friends and allies? That’s Eighteenth-Century isolationism. That will shuttle the United States down a rabbit hole already occupied by the most isolated country in the Western Hemisphere. We’ll never know whether Haiti could have become a successful country because for over 200 years the rest of the world never gave the first independent Black republic a chance. What we do know is that a country that relies almost exclusively on tariffs to fund its government is a country bereft of healthcare, education, social services, or even the ability to defend itself. Why would we want to emulate their bottom-rung system of taxation?

Maybe because the real agenda of the Trump presidency is not to uphold our democracy and elevate the lives of our citizenry. Rather, it’s to reduce as many of us as possible to be servants of the rich. Tariffs will certainly noose us in that direction.

Then again, the threatened tariffs might be nothing more than the distraction of the week from our leading master of chaos. President Trump’s given Mexico and Canada a month’s reprieve. Three weeks from now, tariffs may once again be headline news. Or he may conveniently forget the whole thing to pursue some other media circus. Disequilibrium is key to the entire enterprise.

Just like every time I entered Haiti, I never knew if, or how much, I’d have to pay.

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This Isn’t Who I Am

Courtesy PA Images.

A recent Boston Globe article about the ‘No Buy’ trend features an amiable woman from Utah, Stephanie Noble, who got so caught up in online shopping that she had boxes of unopened purchases, repeat purchases, etc. According to the article, the 38-year-old woman looked around her array of stuff and thought, “This isn’t who I am. It’s not what I value.”

Now, I don’t know Ms. Noble; she likely has many noble characteristics. But one thing I do know about her (if Boston Globe reporting can be trusted), is that she’s a compulsive online shopper. That is who she is.

When you meet someone at a cocktail party who says, “I have to watch my pennies” while describing the renovations to their summer house, you know they have plenty of money. Or the bloke who retorts, “You don’t me,” after you’ve pointed out a persistent trait so obvious, so elemental to their character, that you never imagined they might be sensitive about it.

Where did this cognitive dissonance between reality and ego come from? This habit of pretending away accurate assessments of ourselves in favor of protesting the opposite. Why are we so thin-skinned? Or simply delusional?

If proclaiming yourself to be the opposite of a clear reality was only a matter of pretend humility or extreme consumerism, we might be able to laugh it off as folly. But unfortunately it’s become the dominant factor in our national discourse.

We live in an era where a person’s perception is their reality, regardless how it corresponds with objective fact; a world in which objective fact is ridiculed and dismissed. Whenever anyone says anything that doesn’t align with your perception, you protest—loudly—and then assert the polar opposite. The volley of claims and counterclaims based on imagined realities simply makes our discourse louder, more divisive, and more aggressive.

I am riddled with foibles, insecurities and doubt. I have a terrible temper, quick-flare emotions, a history of depression, and a serious case of Irish Alzheimer’s (where you forget everything except the grudges.) There. I’ve said it. In print, In public. So next time you point out an objectionable behavior rooted in my turbulent innards, I won’t be tempted to defend my fragility by proclaiming what is patently incorrect. Instead, maybe, just maybe, I will hear what you say and gain some insight about how the outer world sees the actual me. Instead of building a thicker shell, I might actually develop more porous, healthier skin.

As for Stephanie Nobles. Apparently, she has gone six months without making any impulse purchases online. That’s a good long stretch. Perhaps even enough to change the habit of compulsive shopper to one of prudent shopper. Of course, the article reports that she had such a backlog of unopened make-up and clothes that she hasn’t run short of anything yet. So, although I wish Stephanie well, the skeptic in me considers the jury still out.

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Crumbs from the Table of Joy

Crumbs from the Table of Joy

Lyric Stage Boston

January 10 to February 2, 2025

Madison Margaret Clark as Ernestine. Photo by Mark S. Howard

The phrase, ‘crumbs from the table of joy” comes from the 1947 Langston Hughes poem, “Luck.” It’s a perfect title for this memory play of shy, 17-year-old Ernestine Crump, a talented Black girl, transplanted from the South to 1950’s Brooklyn with her father and sister after her mother’s death. Her father Godfrey’s grief is ameliorated by the teachings of Father Divine, an influential Black minister of the era who advocated an assimilationist path to equality by advocating integration while operating through the system.

This somber domestic trio is stirred up by the arrival of Lily Ann Green, Ernestine’s mother’s sister, a curvaceous babe and radical communist who moved North to Harlem years ago. Lily seethes with life and secrets, including ones that involve Godfrey. She’s coy, but her intentions are clear—to get back into Godfrey’s heart, or at least his bed—until Godfrey up and marries a white woman. A German immigrant to boot!

Tomika Marie Birdwell and Dominic Carter. Photo by Mark. S. Howard

Lyric delivers a very credible production of this not very great play. Nevertheless, there are two notable reasons to see Crumbs from the Table of Joy.

First, the depiction of 1950’s Brooklyn is poignant. It’s a place where Blacks come north for opportunity, communists loiter to escape attention, and German immigrants suffer in the long and very recent shadow of the Nazi’s. A melting pot of opportunity and suspicion.

The second reason to see Crumbs from the Table of Joy is for serious students of theater to gain insight into playwright Lynn Nottage’s creative arc. Crumbs is Ms. Nottage’s first major play, first produced in 1995. Since then she has developed a working method that involves literally inhabiting the places and people from which she draws her drama. She’s also won two Pulitzer Prizes. Crumbs from the Table of Joy is a checkered piece of work: the monologues are stilted; the marriage plot is forced; as are the stage comings and goings. Nevertheless, the roots are greatness are present in the depth of issues that the play tackles with both grace and insight.

This is a play about how an impressionable young woman is formed into a force for our world. How much of the main character is actually Lynn Nottage is not for us to know; a good measure to be sure. Don’t go see Crumbs from the Table of Joy expecting a great play. Go because it is a resonant harbinger of so much creative genius to follow.

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Required Reading in 2025

The Burning Earth

Sunil Amirth

Earth. iStock image.

The Burning Earth got a scorching hot review in The New Yorker, and so I ordered it from my local library, meaning that, as a new best seller, I’d have only two weeks to read it. No problem, since The Burning Earth is as fascinating as it is readable.

Sunil Amirth is a MacArthur “genius,” born in Singapore, currently a professor of history at Yale. These three attributes all contribute to the book’s important differences from many screeds about how we’re despoiling our earth. First, Mr. Amirth’s book reaches beyond Western contributions to climate change. His insights about environmental destruction in Asia, Africa, Indonesia, and other places provide a truly global perspective. Second, his historical perspective is unique in my reading about climate change. Lastly, his academic bent lends the book a scientific legitimacy that transcends mere doomsday.

Yet, The Burning Earth is not a scholarly read. Rather, it’s as if Malcolm Gladwell, that master of digestible vignettes as stand-ins for complex human experience, took up climate change. Rudyard Kipling, Willa Cather, Albert Kahn, Diego Rivera; the book draws an astonishing array of voices. Farming, mining, transit, famine, flood, fire; it recounts story upon story of human disaster, whether medical, social, economic, or physical. Mr. Sumil explains environmental disruption so severe it impacts the behavior of every form of life on earth. Until, one by one, the flora and fauna that define our planet become extinct.

While most analyses pin the origins of climate change on the Industrial Revolution, Mr. Sunil goes further back: all the way to 1200, when the Charter of the Forest, a companion to the Magna Carta, institutionalized cutting down forests to create arable land. Of course, things really started heating up with the steam engine, then railroads, and increased urbanization. Beyond the rise of capitalism and redefinition of human labor, Mr. Sunil presents this as a fundamental shift in our understanding of the relationship between man and our environment.

In 1842, on the cusp of the potato famine, Irish writer William Cooke Taylor wrote how the absence of smoke “…indicates the quenching of the fire on many a domestic hearth, want of employment to many a willing labourer, and want of bread to many an honest family.” Amirth notes, “Witness here the birth of an idea so powerful that it has reverberated around the world for almost two centuries: the idea that the degradation and sacrifice of nature is the necessary price of a human freedom from want.”

He then goes further to demonstrate how the rhetoric of freedom has become bound up with the triumph of the artificial over the natural. “Into the pursuit of freedom there crept, over time, a notion previously unthinkable: that true human autonomy entailed a liberation from the binding constraints of nature.” Which is how we arrive today at Elon Musk, a man of unbridled power whose ambition is to exhaust the resources of this planet in order to inhabit Mars.

The Burning Earth exposes our ceaseless penchant for war with a fresh, diabolical perspective. Ecologist Paul Sears wrote that “Violence toward nature is no less evil than violence against Man.” But Amirth illustrates how man’s violence against man actually produces violence agsint nature. His description of the landscapes destroyed by World War I is gripping, only to be eclipsed by the immense ecological damage of World War II, triumphed by the catastrophic havoc wrought by the atomic age.

iStock image. Credit Marcus Millo

Two aspects of The Burning Earth gnaw. First, the graphics are terrible. Beyond meaningless, they’re downright confusing. Since the book is finding a large audience, a second edition with worthy graphics is in order. And while publisher W.W. Norton is at it, they ought to invest in more proof reading. The book is chock full of statistics. Early on, I came upon this trio of numbers related to the horrific conditions and baked-in racism of South African gold mines. “By the end of the nineteenth century, the goldmines employed close to 93,000 workers. Just over 10,000 of them were white…Africans…made up 90 percent of the workforce.” 93,000 minus 10,000 leaves a large majority of ‘other’ but simple math shows it falls short of 90 percent African. This statistical ‘fudge’ cast suspicion over every subsequent stat. The travesty of environmental degradation is so huge, there’s no need to embellish.

Despite these shortcomings, The Burning Earth gets more compelling as we burn, baby burn. Part Three (1945-2025) lays out the complexity of trying to address our climate crisis along with the hypocrisy of our all-too-lame efforts to date. One chapter compares and contrasts three women of the 1960-1970’s era: scientist Rachel Carson, philosopher Hannah Arendt, and Indian Prime Minister Indira Gandhi. At first, it seems their understanding and approaches to the science, morality, and politics of climate change are aligned. But when actual action is required, conflicts flare.

These conflicts only become more intractable as time marches on (and men finally start paying attention). Regarding the 1992 Earth Summit in Rio, the Dalai Llama said, “planetary harm is an outcome of a social order of atomized, desiring, acquiring individuals,” while US President George Bush said, “the American way of life is not up for negotiation.” No wonder there’s no agreement on how to proceed!

I was disappointed, though not surprised, that Mr. Sunil offers no worthwhile insight about how to address this intractable, life-threatening dilemma. Instead, the epilogue to The Burning Earth is laced with optimistic stories of young people’s awareness and commitment to rebalancing human’s place on this planet. As a Baby Boomer who came of age protesting war and chanting peace, forgive me for discounting the commitment of youth. After all our optimism, we baby boomers delivered to the world Bill Clinton, George W. Bush, Joe Biden, and Donald Trump. Two generations out from Silent Spring, more than fifty years since the first Earth Day, and over thirty years since Rio: what have we accomplished? We’ve emitted more carbon dioxide into the atmosphere since 1990 then in all prior measured history.

iStock image. Credit: sankai

So. If our situation is so dire and the remedies so paltry, why bother reading this book? Because in the path of human development, knowledge, understanding, and perspective always trump ignorance. The better we understand how we got here, the easier it will be to find a way forward.

I am not hopeful for the future of humans on this earth. But I put my faith in two enduring truths. One: that humans are lame in anticipating problems, but pretty creative in addressing catastrophes. Two: that Mother Earth is more resilient than we deserve. It’s been almost forty years since Marc Resiner’s Cadillac Desert made the case that we’re out of water in the American West. Yet, the population sustained by the Colorado River system has almost doubled since then. In this book, Mr. Sunil spends considerable time discussing the population explosion of the 1960’s and 70’s, which many intelligent people viewed as impossible to sustain. Yet, the Green Revolution has created enough food to feed eight billion people. To be sure, we have ongoing problems of equity and distribution, and the environmental consequences of industrial agricultural have created new dilemmas, but at a first level approximation, we’ve figured out how to feed a heck of a lot of people.

Today, the proposed technological fixes to climate change give me the willies, the political will for change is weak, and the economic forces to bullying down our reckless path of destruction are strong. But despair is surrender, and so I force myself to a position of hope. That’s why everyone should read The Burning Earth, and then find a way, however small, to apply the cool hand of reason to the challenges we face.

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