Eagles and Falcons and Hawks . . . oh My!

It was breathtaking. There I was, sitting on a bench at the top of Riverside Park conversing with a colleague, when the sky darkened , and a great swoosh of wings swept up a swirl of dust and leaves, and suddenly, we were in a scene from Jurassic Park. Or perhaps it was a post apocalyptic angel-of-death moment. Anyway, my heart stopped.  Any minute now, I thought, I’ll be grabbed by giant talons, carried away and gone in an instant.

I gathered my courage, looked up, and sure enough, there they were, directly overhead: two giant birds – great red-tail hawks – the larger in the lead, her wings stretching over four feet from tip to tip, her sharp claws pointing downward.

“Wow,” was all either of us could say as the birds flew away.

After a moment, when the wind had settled, and the sun had regained its prominence in the sky, was once more dappling the sidewalk through the leafy gobos, my friend sighed and said, “They’re all over the place all of a sudden. It’s amazing.”

I nodded. “It always surprises me that we are surprised. After all, reclamation is what nature does best.”

“But it feels like it’s happening all of a sudden. I mean, they’re taking over the parks. They didn’t used to be so commonplace, did then? Remember when everyone got excited about Pale Male and Lola, back in the late nineties?”

She was referring to a lone pair of hawks who famously chose a controversial nesting spot in a decorative neo-classical sculpture niche high atop a tony Fifth Avenue apartment house. Today Lola is long since dead, and Pale Male is twenty-four years old, a stalwart survivor, who has outlived at least eleven post-Lola mates, and he is no longer unique in the City. Which leaves city dwellers continually scratching their heads in wonder.

Or quaking in fear.

My daughter has an adopted apple head Chihuahua named Madhu. Though he is just simple enough to greet a falcon diving at him as a welcome invitation to play, he wouldn’t last long, as he weighs less than six pounds and would be easily transported to an urban aerie. My daughter, like her fellow small dog parents, will readily recount a tale, which may or may not be true, about a woman who was picnicking in a park near 125th Street when she looked up and saw a hawk carrying off a wailing, terrified Chihuahua. No protective screaming or rock throwing or batting away at the bird by the horrified pet’s family loosed the predator’s grip. They watched along with that woman and horrified onlookers as the great wings flapped, and the little dog’s pink leash, dangling from its already limp body, trailed off out of sight.

dog in the talons

Story from Out Walking the Dog, illustration by Charlotte Hildebrand

The woman is reported to have famously said, “I hate those birds, all birds of prey. If I had a rifle, I’d shoot them whenever I see them.”

Small pet people share this story with one another wherever they gather, warning one another to stay away from Riverside Park and Central Park and St. Nicholas Park and all the other parks in the city and to keep their guard up even on busy sidewalks – a small dog was nearly snatched from the sidewalk in midtown last week.  “What do you do if one attacks?” They ask each other, never sure there is a right answer.

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Madhu

Just yesterday, while walking with Madhu on our residential street, near the local elementary school, my daughter looked up in a tree and saw two hawks peering down. “I swear they were going to attack,” she averred. “I felt them staring.” She scooped Madhu into her arms and scurried home, grateful she had seen them in time.

Madhu notwithstanding, the birds are a miracle. Back in the 1980s, when populations of rats, pigeons and squirrels threatened to force humanity out of the city, poisons became ineffective in keeping populations down because the rapid evolution of the species enabled even more rapid mutations that rendered the rodents and pigeons impervious to the formulae. Birds of prey were introduced, but it was touch and go for a long time. Their sensitive systems were vulnerable to the potions their meals were ingesting, and because the poisons affected their abilities to reproduce, the birds’ evolution was slow.

Today the hunters are beginning to thrive. Not just hawks but also peregrine falcons, eagles, and other birds of prey. They are taking back the treetops, much the way coyotes and raccoons are taking back the bushes. Nature is reminding us she never went away, and we have to learn to live with all her creatures.

But being human, we don’t believe it. Or we choose to deny it. We expect, as we always have with all indigenous beings that we can tame them, bend them to our will,  round them up and put them in zoos and make them stay in their place. If they don’t, we can kill them. After all, we carry guns, and that gives us license to eliminate those we perceive as intruders.

But nature’s not lying down for us, and her minions are not waiting around to be eradicated. They are, like the restless people who are tired of being colonized, putting up a fight. They’re pushing back in small ways now, and perhaps they’ll lose in the short term. But in the long run, we lose by insisting on claiming superiority. Nature has a way of winning. Eventually.

If we kill off the birds here in New York City, we’ll be at the mercy of the disease and filth spread by the unchecked rodent and pigeon populations. We can kill them too, but they’re adaptable, and they will prevail; we stand to lose this island as we stand to lose the planet we have abused too long.

Ultimately, we are here at the mercy of the creatures who naturally inhabit this island. They have been erased before, and they have always found their way back. The alligator in Disney World was no accidental happenstance; one wonders how Disney could have been so blindsided, given their layered history with Captain Hook.  imgresOkay, it was a crocodile, but the point remains.  The swamps that were Florida before the marauding white man decided to tame them belonged first to the alligators. The Disney folk can kill them, but for every one they kill, a dozen will come to the funeral, and unless the humans figure out a way to co-exist peacefully and safely, the gators will be victorious.

The meek do not inherit the earth. The fittest do. Those who can survive on garbage and mud and each other, like gators and rats and pigeons and squirrels and bugs, will long live after us. They don’t need us any more than they need the sunlight or the clean air that we can’t live without.  The creatures will be more than happy to take what we leave behind. And then nature will regenerate, and evolution will replace us with new “higher” organisms.  But we won’t be here to greet them or study them or abuse for our pleasure.

We have to choose. Are we with ‘em?  If we’re not, they’ll most assuredly be against us.

 

 

 

 

I Got a Kick . . . At the Opera!

As a rule, I am not a big fan of musical theater. I want my mind engaged when I go to the theater, and the familiar tropes and clichés of most musicals work better than personal ohms to make me drift into mindlessness. There are exceptions to my taste aversion, the stellar standouts, which include anything by Stephen Sondheim, Rent, Roar of the Greasepaint, HAMILTON and a few others. But even as a director of educational theater, who helmed at least two musicals a year, I was hard to please.

Which is why I most often chose very difficult musicals for my students to perform – the very operatic Most Happy Fella and Sondheim’s dark and cynical Sweeney Todd, for example. I am a very tough customer. And I am not likely to trust local regional theater, wherever I might be.

Which is curious, considering that I lived for many years in the New Haven, CT, area, and I had access to some of America’s best regional theaters. I trusted Long Wharf Theatre, Hartford Stage, and Yale Repertory, whose productions I attended religiously. But except for one musical at Long Wharf that I rather liked (about an English teacher), I tended to head to New York when I wanted to check out a play for my kids or to see what was new in the musicals canon.

And that is how I failed to discover the Goodspeed Opera House.

Well, that is not exactly accurate. I knew about the Goodspeed.  I  had even been to the building and had walked the premises. But  I had never gone inside, had never seen a production.

Until last week.

My good friend and colleague Denise Lute was featured as the batty Mrs. Harcourt in Anything Goes, and I decided it was time to take the leap, convincing my best buddy to drive with me from New York to Haddam. Well, blow Gabriel, blow and ain’t it de-lovely! If Anything Goes is an example of what’s been going on out there at the Goodspeed, then I have been a fool. Thank goodness I have lived long enough to get past my prejudices and enjoy this epiphany.

Anything Goes was absolute perfection, from start to finish, a joy to behold and a revelation of phenomenal talent.

Which, as Denise pointed out over dinner, should not be a surprise. After all, everyone in the cast has a host of impressive credits. “My Kingsley (Kingsley Leggs, who plays Eli J. Whitney, Mrs. Harcourt’s boyfriend)”, she averred, “was in Color Purple, Sister Act, etc., David (Harris, who plays the romantic lead) is a hot (and I mean HOT) star in Australia, and Rashidra (Scott), well, she’s here because Beautiful let her take a leave of absence. She’s got a feature role in that one!”  High praise coming from Denise Lute, who works more than most actors I know, a veteran of the Actors’ Studio. Still, I would not have been so easily convinced. Anyone can make a resume sound far more impressive than it is.

Rashidra

Rashidra Scott as Reno Sweeney in Goodspeed Opera’s Anything Goes (photo courtesy of CT Post).

But the cast gels in ensemble synchronicity from the stimulating opener to the rousing finish. Rashidra Scott is in almost every scene and leads the ensemble in dancing that runs the gambit from tap to jazz to ballet to salsa with her fleet feet dancing in perfect alignment with her megavoice. She really stands out.

Because she practically carries the show. But honestly, there’s not a bad apple in this crate. Every single person in the cast sings, dances, acts. Even Trixie, the dog Denise’s character carries compulsively through most of the play, is remarkable, so mellow she could have convincingly played a stuffed animal.

Denise and Trixie

Cheeky (Trixie the Pomeranian) in the arms of Mrs. Harcourt (Denise Lute). Photo by Tim Cook/The Day

I would have preferred less mugging and ad-libbing by Stephen DeRosa, who plays Moonface Martin, Public Enemy #2, but that’s because I’m a writer (script sacrosanctity!) and a former acting teacher (be generous, babies; don’t steal the light); the crowd there loved him, and so he mugged harder and ad-libbed all the more vigorously.

To tell the truth, if I were to say to one person in the show “You’re the top,” it would be to choreographer Kelli Barclay. I haven’t seen dancing like this anywhere. The dance in this show was more than just a fun interlude. In many cases, the dance captured pieces of story that were not clearly elucidated or they underscored a subtext the audience could easily have missed. The book is simplicity itself, with no intricate story lines, no metaphorical messages to darken or clutter the story, but the characters might come off as stick figures or cartoons were it not for the choreography. Barclay’s choreography endows Reno Sweeny and Billy Crocker, and even Moonface Martin with a humanity that is not in the script, is not clear in the music.

One of the difficulties of a show like Anything Goes is that the vacuity of story and absence of characterization can leave the audience a bit numb. Even while they are having fun, they might be inclined to turn off a bit, to withhold investment in the people the actors are playing. Barclay’s dances ensure that the audience cares about all of them, even about the ensemble characters we hardly know at all.

Director Daniel Goldstein can take credit for opening a world and for making sure that all the elements of the production are of that world. The design of the set by Wilson Chin is simple but elegant, very old-school theatrical, with small revolves, wagons and flies providing a variety of sub-sets. The costumes by Ilona Somogyi are adorable, respectful of the bodies they adorn and time-period-appropriate, in colors that enhance the set design. Lights, by Brian Tovar are unnoticeable and flawless, but sound was slightly lacking, as there were whole chunks of dialogue that were inaudible or indiscernible where I was sitting in the front left orchestra.

Best of all, what Goldstein has achieved, what directors hope for and too often miss, is a cast and crew that loves being together, loves making this show, loves Cole Porter, loves everything about being in Haddam on the stage of the Goodspeed Opera House. That’s remarkable. It’s hard to pull off a show that’s based on the music of a beloved song writer and refrain from making it more than it is or less than it can be. An American in Paris on Broadway very graphically proved that to me. No one had any fun in that show, at least on the day I saw it. And the writers and director, in adding tried dark drama to the simple storyline, muddied the waters and detracted from the beauty of the music. The actors were great ballet dancers but could not act, and the dancing told no story. The play was merely an exhibition, a total disappointment. And the antithesis of Anything Goes.

Which taught me a valuable lesson. I must lose all NYC snobbery. Theater in the boondocks –like it or not, folks, the Goodspeed Opera House is in the idyllic boondocks, on the banks of the CT River – can be well worth the requisite battle to reach it through horrific Connecticut (worst in summertime) traffic.

goodspeed

It’s too late to see this production of Anything Goes, which closed  June 16. But there will be other productions – check them out here. And be sure to watch for work by people like Rashidra Scott, Denise Lute, Daniel Goldstein, and Kelli Barclay.

Himself and Nora, an off-Broadway show about James and Nora Joyce, about which I was skeptical about until I realized it features Barclay’s choreography, sounds like a great prospect. There’s lots of subtext in that marriage to elucidate through dance. My guess is that it can’t miss.