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Historic stadium engulfed in flames in Oregon

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Historic Civic Stadium in Eugene, Oregon has been engulfed in flames.

Parts of the stadium grandstands have been burnt away and a giant plume of smoke is visible throughout the city, according to local media reports.

Local police say that nearby structures are also at risk due to the blaze and have suggested that everyone within a two-block radius evacuate the area, the Register-Guard reported.

Dozens of firefighters have responded to the scene. The cause of the blaze is unknown.

So far, no injuries have been reported.

People have gathered to watch the fire and take videos outside the stadium.

Sad day for the community. Historic Civic Stadium is on fire, photo  Christian Hill
Sad day for the community. Historic Civic Stadium is on fire, photo Christian Hill

Civic Stadium was built in 1938 as part of a venture between the local school district, the local Chamber of Commerce and a federal works program. Just this past April, it was sold to a nonprofit with plans for renovations. The stadium was to be repurposed as a soccer field and a site for children’s activities, the Register-Guard reported.

Prior to the sale, the stadium had served as the home of a Major League Baseball minor league team called the Eugene Emeralds from 1969 to 2009. It was listed as one of the ten oldest active minor league baseball stadiums in the US and included in the National Register of Historic Places in 2008.

TWENTY FIRST ANNUAL PALM SPRINGS SHORT FESTIVAL LAUNCHES

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Jack Lyons Theatre & Film Critic
Jack Lyons Theatre & Film Critic

Over the years I’ve asked Festival Director Darryl Macdonald, the same question: How do you top the success and quality of last year’s festival? Macdonald is an articulate and extremely knowledgeable film and cinema festival professional. He never shoots from the hip. He is one of the most successful film festival producers in the world year after year. Oh, the answer to that question? “I really don’t have a definitive answer. It’s always a group effort” he replies, accompanied by a smile. The man is too modest.

Every opening night of the two major film festivals held in Palm Springs every year has the stamp and support of Festival Board Chairman Harold Matzner. Matzner has been a strong leader in insuring that the two festivals he chairs receive maximum exposure in the ever-crowded field of International film festivals, along with a growing plethora of domestic festivals.

The 21st Annual PSIFF ShortFest is screening 330 films from 50 countries. The film programs are curated into packages of films with similar themes or subject matter. Short films range from two minutes up to 40 minutes. The festival programmers under the trained eye of long-time festival senior programmer Helen DuToit, this year received and screened some 3400 submissions from filmmakers from all over the world. Their ideal target of films to screen is between seven and nine films that add up to between 80 and 90 minutes in length. Within this time parameter viewers will see and enjoy films about every subject imaginable all day and evening.

The opening night program entitled “Make ‘Em Laugh” consisted of seven short films of varying lengths and ran 87 minutes in total. “Love is Blind”, from the UK, directed by Dan Hodgson is a clever and fresh approach to infidelity in a comedic vein with a twist. “Albertine”, A French/Belgian co-production, directed by Alexis Van Stratum, is a tender and charming story of an elderly lady who thinks her life is over, only to find a new beginning in the form of an unexpected knock on her apartment door late one evening.

The opening night audience got the chance to congratulate and applaud almost 100 excited young filmmakers who were in the audience, out of the 600 hundred scheduled to attend during the 6 day festival. Winning films from the PSIFF are eligible for Oscar nominations for the 2016 Academy Awards, so there is a lot on the line for these talented filmmakers.

The festival runs at the Camelot Theatre, Palm Springs from 10:30 AM to 8:30 PM until Sunday, June 21st. The winning films selected by the audience will be screened at the Camelot Theatres all day Monday, June 22nd. For ticket and Festival Pass information, call the Box Office at 760-778-8979.

THOUGHT PROVOKING COMEDY HAS AUDIENCES TALKING

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Jack Lyons Theatre & Film Critic
Jack Lyons Theatre & Film Critic

Nothing gets conversation started as quick and as passionate as aficionados of sports, or the divisiveness of political discourse, or, the radio-active subject of religion with its deep-seated tenets – even among families, let alone the general public.

Raviv Ullman and Molly Ephraim in Bad Jews. Photo by Michael Lamont
Raviv Ullman and Molly Ephraim in Bad Jews. Photo by Michael Lamont

Which brings us to the highly entertaining but prickly subject matter embedded in the premise and dialogue of “Bad Jews”, a new modern comedy written by acclaimed young playwright Joshua Harmon. The ambiguously titled and talky play currently on stage at the Geffen Playhouse is directed by Matt Shakman, who helms his production with one directorial foot planted in “tradition” and the other directorial foot solidly rooted in the secular 21st century. What’s a young, talented, cast to do when faced with the dichotomy of a comedy/mellow-drama with such parameters?   Why, just act the hell out of it and let the chips fall where they may.

The story revolves around ”good Jew?” Daphna Feygenbaum (Molly Ephraim) who swears to one and all that she is the most devout Jew in her family. However, when her less than observant “bad Jew?”cousin Liam Haber (Ari Brand), arrives to claim a treasured family heirloom – a chai – a religious symbol from their late grandfather and Holocaust survivor, Daphna employs her considerable skills of persuasion and intimidation on her two male cousins that she should have the chai which then develops into a screeching, funny battle of Old Testament proportions.

Ari Brand and Raviv Ullman in Bad Jews. Photo by Michael Lamont.
Ari Brand and Raviv Ullman in Bad Jews. Photo by Michael Lamont.

We’re not talking Neil Simon comedy zingers here. We’re dealing with a brainy, savvy, envious, irritating, and mean-spirited young know-it-all Vassar senior who is taking on her older, highly educated, high-strung cousin Liam who gives her more Biblical quotes, sociology lessons,, and philosophical food for thought than she bargained for. It is delicious confrontational dialogue and theatrical craftsmanship at its finest. It is talky; but everything that needs to be said is accomplished in 87 minutes. There is no intermission.

One doesn’t have to be Jewish either, in order to relate to the verbal fisticuffs and comedic poison-tipped darts being hurled by a proactive Daphna toward a non-receptive Liam and his girlfriend Melody (Lili Fuller). We’ve all seen either relatives, husbands and wives (Albee’s George and Martha come to mind) and friends perform their comic and sad verbal dances of animus.   Self-destructive comedy can be entertaining, at times, but only when viewing it from outside the war zone.

One character, Jonah Haber (Raviv Ullman), the younger cousin is calmly and emotionally detached from the heated, invective-filled debate – lots of f-bombs being tossed – between his brother and Daphna. “I do not want to become involved at this time” Jonah frequently says while resisting the urge to be drawn into the family squabbles when asked for his opinion.

Raviv Ullman, Molly Ephraim, Ari Brand and Lili Fuller in Bad Jews. Photo by Michael Lamont.
Raviv Ullman, Molly Ephraim, Ari Brand and Lili Fuller in Bad Jews. Photo by Michael Lamont.

“Bad Jews” is an off-putting title and it’s misleading as well. It may dissuade some from attending a crackling energetic production. That would be a pity, because one would the miss seeing four fantastic actors performing at the top of their games: Molly Ephraim is maddeningly effective as Daphna, despite that high-pitched screeching delivery. Ari Brand is a controlled IED device just waiting to be stepped on. Both Ephraim and Brand deliver exquisite performance gems. Also, Lili Fuller shines in her understated girlfriend portrayal caught between the feuding Ari and his cousin Daphna. Raviv Ullman is a bit of the mystery man in the proceedings but he has a very special moment just before the curtain comes down.

In the technical department the creative team led by director Shakman has his set designer John Arone, render a one-set, messy apartment; strewn with bed-sheets, blankets, and clothing that provide the look that twenty somethings just seem to relish. Lights by designer Elizabeth Harper deliver just the right amount of light in order to see the on stage action and the costumes of designer E.B. Brooks.

If I had to be picky about one aspect of this stellar production it would be to ask the director to modulate and lower the volume and vocal delivery of Daphna and Liam. When one begins the play with everyone at the top of the ceiling it’s tough for the actors to grow. They’re already at the top and the narrative flow begins to sound like it’s a Johnny one-note performance with everyone yelling.

On exiting the theatre, one could hear snatches of patron conversation. “Did you think the young Jewish girl was right?” to “I thought the quiet brother was really involved without saying much.” I spoke to a patron who said “Boy, the young actress was really a despicable person, but that’s what the playwright wanted her to be I guess”. When plays produce comments like these, one knows the actors are doing their job in Spades and loving every minute of it.

“Bad Jews” performs at the Geffen Playhouse and runs through July 19, 2015.

INSPIRING WORLD PREMIERE MUSICAL AT LA JOLLA PLAYHOUSE

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Jack Lyons Theatre & Film Critic
Jack Lyons Theatre & Film Critic

One never knows where the next small exquisite gem of a play or musical will come from. Story ideas are all around us just waiting to be discovered by talented and creative people. Whenever the La Jolla Playhouse Artistic Director Christopher Ashley, gets wind of a new and fresh project, it’s a pretty safe bet that Playhouse audiences are going to be in for a special treat.

(L-R) Caesar Samayoa, Geno Carr, Joel Hatch, Astrid Van Wieren, Allison Spratt Pearce and Petrina Bromley-photos by Kevin Berne
(L-R) Caesar Samayoa, Geno Carr, Joel Hatch, Astrid Van Wieren, Allison Spratt Pearce and Petrina Bromley-photos by Kevin Berne

The musical “Come From Away” by the Canadian husband-and wife team of Irene Sankoff and David Hein, directed by Ashley made its World Premiere debut at the Sheila and Hughes Poitier Theatre last weekend to thunderous applause and standing ovations.

Big things often have small beginnings. For America, nothing was bigger and more horrifying than the Terrorist attacks of September 11, 2001. It’s been a defining moment in modern American history. How to expiate the demons of that day and its immediate aftermath, hasn’t really been addressed by many American writers yet. The scars are too deep. Yet, there are stories to be told. And some no doubt with unexpected or a particular point of view.

In “Come From Away”, the story informs the audience in song, dance, and narrative about the generosity and compassion of our Canadian neighbors north of the of the 45th parallel. When the first-ever national “ground stop” of all aviation in US airspace took place, 38 jetliners were diverted to Gander, Newfoundland, along with 7000 passengers from countries all over the world; sitting for five days in an airport that most probably never heard of.

(L-R) Astrid Van Wieren, Caesar Samayoa and Chad Kimball-photos by Kevin Berne
(L-R) Astrid Van Wieren, Caesar Samayoa and Chad Kimball-photos by Kevin Berne

How a city that sported two policemen, a small fire department, one library, a one person SPCA unit, and a no-nonsense mayor who galvanizes the town residents into becoming the most hospitable and compassionate of hosts is the stuff that becomes a legend over time.

Director Chris Ashley has a penchant and a winning track record in sending La Jolla Playhouse productions on to, not only Broadway (“Memphis”, “Peter and the Starcatchers”, “Jersey Boys” etc.), but onto Regional stages around the country as well.

One of the most interesting aspects of this unique production is that the show is chock full of adult singer-actors; many of a certain age. One also gets the feeling of Canadian verisimilitude the minute the curtain goes up. The song “Welcome to Newfoundland” gives one insight into the warm and winning character of our Canadian “cousins”.

The splendid ensemble cast of twelve performers, who portray multiple characters, immediately lay out the story plot in their musical intro’s and dialogue exchanges. Toe-tapping, Celtic-infused musical accompaniment from the eight-person onstage orchestra led by musical director and conductor Ian Eisendrath is a plus in helping to propel the somber backstory toward an uplifting conclusion employing the healing elements that come at times with humor.

The cast of La Jolla Playhouse’s world-premiere musical COME FROM AWAY all photos by Kevin Berne.
The cast of La Jolla Playhouse’s world-premiere musical COME FROM AWAY
all photos by Kevin Berne.

The inspired cast led by Joel Hatch, playing the Mayor, generate enough energy to light the city of La Jolla and surrounding areas. Large casts are not always conducive to naming each performer, but this excellent ensemble cast deserves the honor: The aforementioned Joel Hatch; Jenn Colella; Petrina Bromley; Rodney Hicks; Lee MacDonald; Allison Spratt Pearce; Caesar Samoya; O. Smith; Sharon Wheatley and Astrid Van Wieren, are nothing short of terrific.

Such musical numbers as “Stop the World”, “Somewhere in the Middle of Nowhere” and the finale by Hatch and the company is proof that our society, despite its uglier sides and moments, just might be worth saving after all.

“Come From Away” performs at the La Jolla Playhouse Potiker Theatre and runs through July 12, 2015.

Senate votes to ban waterboarding and other forms of torture

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The US Senate has voted to outlaw many forms of torture, including waterboarding, “rectal feeding,” mock executions, hooding prisoners, and sexual humiliation in any sector of the US government.

By a vote of 78 to 21, the Senate agreed on an amendment to the National Defense Authorization Act (NDAA) that limits the US government to interrogation and detention rules delineated in the US Army Field Manual. The amendment also requires that US officials immediately notify the International Red Cross in the event of an individual taken into US custody or control.

The amendment was introduced last week by Republican Sen. John McCain and is co-sponsored by Democrat Dianne Feinstein, the former chair of the Senate Intelligence Committee. The committee released in December a report detailing harsh interrogation and torture methods employed by the Central Intelligence Agency following the attacks of September 11, 2001.

“We must continue to insist that the methods we employ in this fight for peace and freedom must always — always — be as right and honorable as the goals and ideals we fight for,” said McCain, the current chairman of the Senate Armed Services Committee.

“Our enemies act without conscience. We must not.”

The measure would also require that the Army Field Manual be updated every three years so that it is consistent with US law and “reflects current evidence-based best practices for interrogation designed to elicit reliable and voluntary statements that do not involve the use or threat of force.”

The Army Field Manual does allow interrogation methods such as stress positions and sleep deprivation that are “cruel, inhuman, or degrading treatment,” according to a group of medical ethicists who wrote to the Obama administration calling for changes to the Manual in 2013.

Human rights advocates applauded the amendment even though it is based on future prevention of torture – already illegal under domestic and international law – and not the prosecution of those responsible for torture following September 11, 2001.

“This is the U.S. Senate’s first vote on torture in years, and it’s a clear and necessary legislative repudiation of the CIA’s horrific abuses,” said Amnesty International USA’s Executive Director Steven W. Hawkins in a statement.

“Without this amendment, abuses committed in the name of national security, such as forced rectal feeding and mock burials, would be all too easy for the CIA to repeat in a climate of fear-mongering about terrorism.”

The US House must now vote on the amendment within the larger defense authorization bill, which sets budget and expenditure limits for the US Department of Defense.

McCain, a prisoner of war in Vietnam, spoke out against torture on the Senate floor prior to Tuesday’s vote.

“I know from personal experience that abuse of prisoners does not provide good, reliable intelligence,” he said. “I firmly believe that all people, even captured enemies, are protected by basic human rights.”

McCain previously sponsored the 2006 Detainee Treatment Act, which included a ban on waterboarding. President George W. Bush’s administration effectively ignored the measure. Another effort to ban CIA torture in 2008 was vetoed by Bush.

“This is no time for Congress to abandon practices that have a proven track record of keeping America safe,” Bush said in March 2008.

In December, the Senate Intelligence Committee’s released a 480-page executive summary of the roughly 6,000-page secret report on CIA practices. The summary contained the committee’s conclusions concerning post-9/11 tactics deployed by the CIA under the administration of US President George W. Bush in an attempt to gain intelligence from suspected terrorists. The panel’s probe lent to “critical questions about intelligence operations and oversight” and showed that the CIA undermined “societal and constitutional values that we are very proud of,” according to then-committee chairwoman Feinstein.

“Whether one may think of the CIA’s former detention and interrogation program, we should all agree that there should be no turning back to the era of torture,” Sen. Feinstein said Tuesday.

Torture techniques “corrode our moral standing, and ultimately they undermine any counterterrorism policies they are intended to support,” she added.

Earlier this month, it was revealed that a detainee currently held at the US military detention center at Guantanamo Bay, Cuba was allegedly subject to forms of “enhanced interrogation techniques” beyond what was disclosed in the Senate report.

Majid Khan, now a government cooperating witness, was captured in Pakistan and held in a CIA “black site” from 2003 to 2006. Khan said interrogators poured ice water on his genitals, twice videotaped him naked, and repeatedly touched his “private parts,” according to accounts recorded by his lawyers.

The American Psychologists Association, meanwhile, was accused in April of being complicit in the torture tactics used against US-held detainees. APA officials were in cahoots with members of the Bush administration, including CIA employees and contractors, as the government struggled to codify policies for its torture program, according to the report released by anti-torture critics including psychoanalyst and anti-war activist Stephen Soldz as well as Nathaniel Raymond and Steven Reisner, two members of the group Physicians for Human Rights.

NATIONAL TOUR OF “MATILDA THE MUSICAL” BEGINS AT THE AHMANSON THEATRE IN LOS ANGELES

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Jack Lyons Theatre & Film Critic
Jack Lyons Theatre & Film Critic

It’s a huge cast show that is colorfully uber-produced beyond belief. More than 30 actors, singers, dancers, and performers plus a world-class technical team of gifted, talented, and incredibly inventive theatrical wizards, all come together in support of one little girl: Matilda, who has a love and passion for books, words, and storytelling that transcends logic.

Evan Gray (top center) and the company of "Matilda The Musical" National Tour.-Photo by Joan Marcus
Evan Gray (top center) and the company of “Matilda The Musical” National Tour.-Photo by Joan Marcus

That’s why it is one of world’s most beloved children books and now a Musical show that is soon to be seen by thousands across the country as its National Tour is launched. “Matilda: The Musical” is based on the novel ‘Matilda’ by the late British author Roald Dahl. Dahl was a writer who understood the power of imagination and the belief in magic when it came to entertaining young children.

The production now on stage at the Ahmanson Theatre (part of Center Theatre Group) in Los Angeles, was awash in tween and teen excitement to such a level that the adults at the opening on Sunday, June 7, probably thought the 2200 seat Ahmanson Theatre was going to explode due to all of the pent-up energy packed into the auditorium. Once the house lights dim, however, and the music begins, all one sees are rapt faces of sons and daughters, along with their parents, with all eyes glued to the stage.

L-R: Mabel Tyler and Jennifer Blood in the National Tour of "Matilda The Musical." Photo by Joan Marcus
L-R: Mabel Tyler and Jennifer Blood in the National Tour of “Matilda The Musical.” Photo by Joan Marcus

The story revolves around Matilda Wormwood (Mia Sinclair Jenness, at the performance I attended. Gabby Gutierrez and Mabel Tyler, along with Jenness will alternate the role during the run), an extraordinary little girl who dreams of a better life than the one she is living at home with her non-caring, self- absorbed parents and dull brother. Armed with a vivid imagination and a sharp mind, Matilda dares to take a stand and change her destiny. The first step in her journey toward change begins at her school.

The bullying and fearsome Head Mistress Miss Trunchbull (a brilliant and inventive Bryce Ryness), is determined to teach Matilda not to interfere with her rules and regulations concerning any of her students (the edicts of Miss Trunchbull sound suspiciously like those of a Miss Hannigan of another musical about young children (shades of “Annie”) However Matilda’s class teacher Miss Honey (a caring and sensitive Jennifer Blood) helps the young girl not only survive in her encounters with Head Mistress Trunchbull, but helps her at home with her parents played by Quinn Mattfeld as Mr. Wormwood and Cassie Silva Mrs. Wormwood. The comic relief character Mrs. Phelps, the school Librarian (Ora Jones), charms as the storytelling ally and listener to all of Matilda’s stories in a warm and sympathetic portrayal, and sports a lovely lilting Jamaican accent in the process.

The company of "Matilda The Musical" National Tour. Based on the beloved novel by best-selling author Roald Dahl, "Matilda The Musical" has a book by Dennis Kelly, music and lyrics by Tim Minchin and is directed by Matthew Warchus. Photo by Joan Marcus
The company of “Matilda The Musical” National Tour. Based on the beloved novel by best-selling author Roald Dahl, “Matilda The Musical” has a book by Dennis Kelly, music and lyrics by Tim Minchin and is directed by Matthew Warchus. Photo by Joan Marcus

One of the most entertaining aspects of this production is the talent and energy of the “children ensemble”. Their athleticism, stage presence, poise, and performances are astonishing in actors of such a young age. They make it look easy and lots of fun. One can only imagine, however, the hectic backstage activity taking place with such a large cast of actors, singers, dancers, and technicians all working to make the magic of “Matilda” happen. The special effects in the production are spectacular in their execution; along with the high octane choreography of Peter Darling; giving featured dancer Jaquez Andre Sims as Rudolpho, a chance to strut his stuff.

The production written by Dennis Kelly, with music and lyrics by Tim Minchin is under the inspired direction of Tony Award winner Matthew Warchus. He has tons of experience and awards and it shows with this highly entertaining and visually impressive musical.

“Matilda: The Musical” performs at the Ahmanson Theatre and runs through July 12, 2015.