A View from the Edge (Reposted from Medium.Com)

These days, my oldest grandchild, age 11, often telephones me from her home in Westchester. We have not seen each other since mid-March, and we are not used to so extended a separation. We normally spend at least a weekend a month together. So, she calls to tell me about her day, to ask for advice choosing the right word to complete a verse of the song she’s writing. Then she asks me to tell her what my day has been like here in the valley of the shadow of COVID-19. Last week, she issued a challenge.

“You should record your observations, Lala. Write down what you see, what you hear.”

I wish I had more to share with her. It embarrasses me to admit that, in truth, I am observing little. My sequestered life leaves me out of the loop, experiencing this crisis vicariously. Watching through the veil of social distance puts me at odds with my natural inclination to engage with the world around me.

In fact, I hardly know myself. At 72, I have always taken pride in being somewhat intrepid. Growing up in a remote region of upstate New York, I spent many teenage nights listening to the Milkman’s Matinee on WNEW in New York City. I would lie in bed straining for reassurance that the vigilant denizens of my emerald city were monitoring the myriad dangers that lurked beyond the mountains. I nurtured the delusion that confronting the things that threatened me meant I could control what happened to my family and me. Then I grew up and migrated to the city, became an insider at last. I traded my childish notions in on a thick skin, an existential shell that enabled me to be nosey, be involved, observe from the inside of whatever’s going on, to calmly assert myself wherever I might be relevant.

These days I am never free of the unfamiliar knot of anxiety in my stomach. At night, I succumb to sleep only after setting the timer on the television. Its mindless banter drones out the perseverating voices in my head shouting, “Run. Run.”

When I wake, I walk.

Each morning, sunrise finds me on the far west side of Morningside Heights. I dodge the occasional runner, sidestep the meandering drunks, race the sparse but speeding traffic and hike toward Riverside Drive. It’s a great time to be out. The eerie city is more like it was in olden days — two months ago — no emptier than it is on any predawn weekend morning I would venture into. Pink wisps of clouds linger over the Hudson, and a floral profusion of varicolored petals dance contentedly in the springcold breeze. Finches, cardinals, robins sing without restraint. For them the absence of people means the absence of danger.

I notice that there is little garbage to mar the pristine landscape, and the lifeless blue gloves strewn insouciantly about remind me why the sudden clean is as disturbing as it is delightful.

Too soon light begins to blanket the streets. The absence of cars, the desolation of sidewalks, the darkened storefront windows revive the irksome panic, and I hasten back to my little apartment, to my illusion of safety.

My seventh floor windows overlook a dormant Catholic Church and its tenants: a vacant parochial and empty charter school. Cars park in front of the buildings all day, all night, unencumbered by the “NO PARKING ON SCHOOL DAYS” sign. No steady stream of worshippers, no laughter of children at recess, no chatter of activity outside the corner bodega clutter the air. Occasionally someone plugs in a boom box and blasts loud rap while he cleans his car. Several times a week, a zealot with a microphone stations herself on a nearby corner to scream end-of-the-world warnings to the deserted streets and open windows. Sometimes at night a drunken cluster of errant youngsters gathers to blast music and throw bottles and chicken bones at the church walls. Until the FDNY arrives and points a megaphone blaring, “Please disperse . . . COVID-19. . . . “

Because there is nothing I can hope to control, because I cannot dive into the fray, I deliberately limit how much I take in. From up here, it’s easy to look away from the harbingers of disaster. I avoid electronic babble and listen mostly to my I-Tunes library, When I do seek something to watch, I am more likely to choose Larry David reruns than Governor Cuomo’s Dire-side chats.

What I see from my precarious tower is mostly a world torn between fear and disbelief. It is fear that governs the new abnormal, a fear exacerbated by the counter-intuitive way we are forced to respond to the crisis. It is the wont of most humans to lean on one another when we are threatened. This virus forces us apart at a time when we most need to cling to one another.

All around me fear expresses itself as derision or anger. A neighbor blurts obscenities then laughs maniacally because I don’t join her unmasked self in the elevator. When I pass her from my 6-foot distance, she scowls. On Amsterdam Avenue, fights break out over small disagreements. In grocery stores, beleaguered cashiers yell at customers who ask too many questions.

Everyone feels powerless. A weak imposter president, who would gladly sacrifice every one of us to the gratification of his ego, endangers us all. This reckless narcissist defies science and encourages the covidiots, who worship him, to flaunt their disregard for herd immunity. He suborns sedition by promoting rebellion against state governments that insist on sheltering. Our citizenry is caught between logic and farce, between sanity and idiocy. Confusion augments the fear and compounds the anger.

Few among us are free from financial concerns. Many in this time of Covid-19 teeter on the edge of an ominous precipice. One of the lucky few with a job I can do remotely, I am obligated to keep working. I cannot afford to be ill. No net is in place to catch me. Should the scourge erase my limited salary or eliminate my miniscule annuity, I would be left without resources.

I am not unique. Widows and divorcees in NYC are typically under-equipped for disaster. We comprise a confederacy of older New York women, who have cast ourselves adrift on an ageist, sexist sea of limitations. When I pass my cohorts in the grocery store or on the street, I can see my strain mirrored in their eyes, etched in their faces.

Also reflected there is the lingering doubt that we will ever see our progeny again. We are repeatedly told that we are at great risk. Who among us will get out alive?

Many of our children, now in their thirties and forties, comprise the essential work force and are constantly in harm’s way. My son’s wife, a fearless physician, who specializes in the care of newborns, is back at work in her hospital, having wrestled with the disease and won. My daughter’s husband, too, a pilot for an international airline, has probably been through an unconfirmed case. These two and sare emblematic of their co-generationists. Even as they protect themselves with maximum caution, will they be safe enough?

I hate to disappoint my granddaughter. Her mother the doctor would be a much more reliable narrator, were she less engulfed in the maelstrom of responsibility with more freedom to record what she sees.

The only light I am able to shed is a lesson I learned in high school French class, where first I encountered La Peste, Albert Camus’ chronicle of a plague year in Oran, Algeria in the 1940s. Frequent references to this book have been cited since the pandemic began. And for good reason. Though Camus meant his pestilence to symbolize the Nazi occupation of France, it is a perfect mirror of our current morass.

The Oran plague is allegorical, Camus’ exploration of what happens when The Absurd engulfs reality and renders it incomprehensible. A cautionary tale. There will always be, Camus asserts, diseased rats of one kind or another that will rise up and roust the world from its complacency. There is no antidote that can change uncertainties to reassurances, threats to promises. No messiah is on the way. Our only hope of vanquishing our foes is to find the best that is within ourselves and live with grateful enthusiasm in our present, providing the most comfort we know how to give to those we care about.

We can’t know what’s coming, and there is only so far we can go to stave off disaster. The rest is submission. Submission to the belief that all things pass. That there will eventually be sunshine or a rainbow. . . .

Or at very least a nice big puddle to jump into at the end of the storm.

Carla Stockton
18 April 2020

Sliding Back to America from the Marmara Sea

Last week, at a playground on the banks of the Marmara Sea, I stood with a stranger and watched his daughter and my grandson chase one another up and down the slide. They were laughing, enjoying the game. We were encouraged by their easy palship to attempt a conversation.

“Where you are from?” the man asked me. I faltered a moment, embarrassed.

“From the U.S., “ I finally replied.

“Ah. I am from Syria. I came here five years ago.”

Unsure what to say next, I stammered, “You are kind to speak English with me.”

“Oh,” he laughed. “I am a teacher of English. I love to have the opportunity to speak!”

“Ah.” I could have been quiet. A socially adept person might have stood there simply enjoying the mirth of our children and the sparkle of the sea. Instead, I pressed on.

“It must be difficult to be from Syria. What’s happening in your homeland must be painful for you.”

He nodded solemnly for a moment then looked me in the eye. “Well,” he ventured, with a new twinkle of mirth emerging from his own, “No more painful than being from America, I’ll bet.”

Déjà-vu.

In 1970, when I first ventured to Europe, a sweet Italian boy asked me if I were an Ugly American. I spent the next 9 weeks of my trek across the continent proving in every way could that I was not. My encounter with the Syrian English teacher was not the first time I realized I was experiencing a resurgence of what I felt about my country in my profligate youth.

“Speak to me in German,” I begged an Iranian neighbor in the courtyard of the apartment complex where I was staying one morning. I couldn’t bear to hear American English coming from my mouth as I spoke to her.

Being an American, especially being an American abroad, is indeed excruciating. Every day of the two months I stayed in Turkey I faced news from my beloved country that made me shudder. Child abuse by US officials. Refugee incarcerations. Racist slurs against respected politicians. Rallies inciting brainwashed multitudes to chant hateful slogans. Ostensible newscasters spewing toxic lies to widen the chasms that divide citizens. Threats of war both civil and foreign.

Early in the morning three days before my flight home to the States, I received an email from my airline instructing me that because of heightened security in the US, all passengers leaving high-risk areas must undergo extreme scrutiny by security personnel. I was therefore instructed to be at Istanbul Airport at least three hours prior to flight time.

I closed the email, shuddering at the thought of having to leave the apartment at 2 AM for a 6 AM flight. Shivering with resentment that my prosthetic hip would set off the metal sensors and force me to endure inevitable pat-down humiliation.

Before I could shut down my email server and go brew a cup of coffee, my news feed blasted pictures from El Paso. Twenty people killed less than a week after the Gilroy Garlic Festival massacre. I sat and wept. Before my tears abated, news of Dayton. I remain inconsolable.

I am hyper-aware of irony. It underscores the absurdity of life around me and ordinarily gives me a healthy perspective on what I observe in the world. While irony often makes me laugh, it is equally capable of reducing my soul to painful shards that impair my vision, alter my hearing, infuse me with the bitter taste of helplessness.

By the time I read those three notices, my toddler grandson and I had spent 60 days frolicking in various playgrounds in our Istanbul suburb, interacting with people from all over the Middle East. I didn’t like everyone, and I am sure there were those who disliked me. Human interaction is like that. I’m not historically ignorant, and I know there have been times when I would have had a very different experience in Turkey. But this time, now, there was no threat inherent in not being friends with everyone. I never felt unsafe. No one ever threatened me with a gun. No one shouted at me that I must conform to any single notion of right/wrong. Not one person posed any kind of a threat to me or my family.

So sad. My misinformed, misguided, brain-washed fellow Americans believe that the people outside our country threaten us with terrorism. When I said I was traveling to a country that is 97% Muslim, I was overwhelmingly warned, even by my more enlightened acquaintances, to “Be careful.” It should have been I issuing the warnings. The real threat to all of us comes from our fellow Americans.

Mass shootings continue to increase. Congress continues to allow the money-wielding gun lobby to control them. The so-called president continues to sow seeds of fear and resentment that foster bigotry and violence. Politicians and our so-called liberal leadership continue to insist on radical stances instead of seeking ways to re-group and ameliorate. The mainstream press continues to whitewash the awful truth about the evil in our midst.

And we continue to allow ourselves to be bamboozled.

You are right, my Syrian acquaintance. What’s happening in America is painful.

 

Three Dead Men

It’s been a rough month for understanding emotions. In a rush of sudden departures, I have lost three complex men, with whom my relationships were equally complicated. What follows is my initial effort to rummage through the shadows and identify my most honest responses to their deaths. Not a simple task.

All three were remarkable. One narcissist, one divo, and one hero. All brilliant. All loving, hateful, kind, and even abusive. You were right Bobby Burns. 

The Narcissist

Urs in 2008 – He loved this image of himself

The first death notice was for Urs, a former lover and confidant, who died suddenly in Switzerland. After years of dickering about how and if, Urs and his brother were finally renovating the family homestead near Zürich. In typical Urs fashion, he was cavalierly riding atop a trailer loaded with trash. He slid off and fell under a tractor wheel, which instantly crushed him. My first reaction when I heard the news was a simple nod. Every time I walked or biked with Urs in traffic, I would beg him to observe caution, to obey street signs, to listen to oncoming traffic. He laughed. It was, he reminded me, his desire to go suddenly, without pomp. “I wish to be snatched into the void before I have time to think about it or to be a burden to my children,” he declared. Death by garbage truck became him.

A self-proclaimed polymath, Urs was a financial wiz, a legal eagle, a filmmaker, a photographer, a writer, a painter, a collector. He loved art and argument, music and mental mayhem. His self-absorption was peerless. In his mind, everything revolved around him. He imagined every eye was on him from morning till night. He owned enough pairs of glasses – he called them his mood measurers – to open a curiosity shop of eyewear and had closets full of clothing that would make the Kardashian women seem frugal. He cast all rules of engagement, suffered no fools, tolerated no dissension. I knew that if I didn’t agree with him, if I didn’t like what he chose or did or wanted, he was finished with me. That was all. And for reasons I hardly understood, I was okay with that. Perhaps it was because, at the same time, he could surprise me with his generosity. He arranged a career-changing job for me, and that job took me to London, where I was able to live for nearly three months, thanks entirely to his hospitality. He believed in the opportunity, and he believed in me. . . so long as I was in some way an extension of him.

Urs had a rapier wit, a deep appreciation for irony and The Absurd. He was expert at mugging, and his jokes were delightful. I lost myself in him, allowing his intellect to eclipse mine, encouraging him to void my will. He was an anomaly, and I might have fallen in love with but for his abject cruelty.

One day, as we walked in the NY neighborhood where my son and his family lived, we happened to meet up with my daughter-in-law. She was only a few weeks post-partum and was having her nails done in a local salon. Urs greeted her in the European manner, kissing her on each cheek before he announced imperiously for all to hear, “You look terrible. Did you know you’ve become quite saftig?”

That night, as we prepared for bed, I demanded that Urs apologize. Without discussion, he ordered me to leave. “It’s the middle of the night,” I whined. “You’ll have to walk me home or come down and hail me a cab.” Wordlessly, he pointed me to a mattress on the floor in an adjacent room. At first light, I went home. We were done.

Il Divo

No one was as able as The Coach to elicit genuine brilliance from young singers.

Next was “Dr. Coach,” my longtime collaborator and cheerleader.

I can still hear the sonorous voice that greeted me over the phone the first time I encountered him. “Hello,” it crooned. “Carla Stockton, this is __________, Ph.D., and I have heard so very much about you. I am calling to make an offer I know you won’t refuse.” I didn’t. How could I?

The offer was the job of artistic director for an educational summer theater program for which he was musical director. Ours became a fertile partnership. For several years, we created spectacular productions together – putting talented kids to work building sets, creating costumes, stage managing, acting, and singing for works such as Into the Woods, Most Happy Fella, Sweeney Todd, A Chorus Line, Pippin . . . .

People were astounded. The music we chose was challenging – highly operatic, written for seasoned performers – and the kids nailed it every time. That was all Coach. He could have coaxed music from a plank of wood, and his ability to evoke musical perfection from our charges, to motivate them to reach ever loftier goals, was nothing short of magical. I worked with many music directors over my years in educational theater. Never did I encounter anyone as effective a teacher as he was.

But he had a dark side. He was prone to mad bouts of depression during which he became surly, abusive. He berated me for every possible flaw, both real and imagined, I might have. “You spend too much time on the chorus scenes when we should be working the quartet. Let the idiots go, and focus on our stars.” “Your hair is getting too long, and I think you need a new look. Tell that skinflint of a husband of yours to get you a haircut and a new outfit. I’m tired of jeans.” “You’ll never understand this music. I sometimes think you have a tin ear.” He also had some troubling proclivities.

At the time, Coach was a 60-something-year-old man with a yen for school-aged women. Especially for the youngest, prettiest, most voluptuous, most gifted. Over the years I knew him, he never expressed interest in any woman older than 18. Fortunately, however, he was careful and self-aware, and I never worried he would do anything untoward.

During preparations for a show, he would call me after each rehearsal to share with me which girls he was lusting after. I think he did that to shield himself, to hear me say how absurd it was, what a ridiculous fancy. He never touched them, never crossed any lines of impropriety. I listened and chided him without scolding, encouraging him to continue confiding in me and to continue holding himself back. His passion seemed to enable him to be a kind of Pygmalion for the women he craved, breathing splendiferous life into voices they did not realize they had.

Before the first summer theater season began, I called on Coach to collaborate on a project at the high school where I was employed. I had been asked to direct the senior class production of Into the Woods. I knew there was no way I could pull that show off without a superior music director. Despite the fact that he was in the thick of his choir duties at his school, in addition to the performance he and his students were preparing to take to Washington, Coach eagerly added my project. In auditions, we were dumbfounded by the discovery of a young woman with a flawless soprano voice. She had never sung before, she said, but she already commanded a full three-octave range, and her high notes were the purest I had ever heard. Coach was instantly smitten. He threw himself into the task of coaching her to play the very demanding role of the Witch. She, too, immersed herself in the work.

Every night after rehearsal, Coach would call me and pour out his besotted fantasies. Every day we would go back into rehearsals, where he would maintain complete decorum. Their efforts resulted in a wondrous performance. I have never heard “Children Will Listen” sung as well as that child delivered it. The innocence in our witch’s crystalline voice resonated, gave the song added import. Children did listen.

In 1998, at Coach’s insistence, I wrote a successful grant proposal for a conservatory-style summer program that had an afterschool training component in Bel Canto voice and Shakespearean acting. The State of Connecticut gave us an unprecedented amount of money. We hired actors and technicians and instructors, artists to create seminars and field trips. We were able to produce four plays in repertory. We recruited students from all over the state, and we met in a classroom at a local university from September till May. Then, in the summer, we housed our students at the same campus and bused them to our host high school, where they attended classes and seminars, rehearsed the plays they were in, ate the three meals we provided. We were able to hire dorm supervisors and to take elaborate field trips. It was a golden year, and we were the talk of New Haven County. We could have become an institution. Until Coach lost his resolve.

Soon after summer rehearsals began, Coach realized he could not live without one of our stars. She was a delightful young woman, beautiful and innocent, with a glorious voice. At first, Coach kept his feelings to himself, controlled his cravings. But each day brought him new frustration, and by the second week of the three-week rehearsal run, he was telling not just me but anyone who would listen that he could hardly contain himself any longer. He even told his male students. He was in love, he moaned, and he just must, must, must tell her. At this point, my tolerance waned. “You can’t tell her. You have to stop telling your boys. And you cannot touch her. This has to stop NOW.” He curbed his hunger, but we were no longer friends.

I was sad to lose him, but I was diverted by personal concerns and paid no attention to what he was up to. He took advantage of my silence and spread nasty rumors. He told parents of some of our young techies that I had cheated them out of pay. He told the district I had pilfered money intended for buses. He told colleagues in the community that I had subverted the program, and his accusations ensured that our grant was not renewed. I only learned about the tales much later, by which time I had no desire to engage with him on any level. I settled into my life and assumed that we would eventually become acquaintances with memories of a very successful collaboration.

Sometime in 2006, and I saw him examining the produce in a local market. Spreading my arms wide, I declared, ”_____________, Ph.D., I haven’t seen you in forever!” He glowered at me for a millisecond, then turned his back and walked away.

The Hero – DAN ALON, his story follows in the next entry.

ME TOO

The “Me too” posts on social media have me feeling ill at ease. I recognize the courage of those speaking up. In the not so distant past, we were ashamed to admit aloud that we had been violated. As victims, we bore the blame and thus were silenced. This new openness is potentially promising. I want to believe that the phrase might become the refrain of a liberation anthem. But I remain skeptical.

Forgive me for this, my sisters, but “Me too” feels too pat. It seems like another in a series of earnest empty slogans. I fear we are too easily lulled into the hope that our words will ignite sudden revelation among those people – both male and female – who have long perpetuated the abusively misogynist old boys’ club that runs most of the institutions in this country. But I have a strong sense that once the system has slapped a few wrists, has made a great show of punishing a few Weinsteins, has vented astonishment, everything will simply revert to the way it was before. No consciousness will be permanently raised. No significant change will be affected.

Of course, I, too, have been assaulted, molested, discriminated against. So have my daughters and my sisters and my cousins and most of the women I love. Most of the women I know. Like them, I’ve passed up opportunities that were offered in the trade of self. I’ve been disrespected and denigrated, and I have been relegated to the status of chattel. Most recently, as an older woman, I have witnessed the same humiliation wearing a new mantle. Suddenly, my many talents and considerable intellect are deemed as unworthy as my body. Since I am no longer able to procreate, my ability to write, to think, to speak, to teach is no longer desirable. I see the hatred for my womanhood all around me. In the sneering faces of men who shove me aside on the subway or the angry stares shot at me when I raise my voice to dissent. I am blanketed in wrath and menace.

But I am a lucky one. I have never been beaten to within an inch of my life. Nor have I been raped in a way that left me consigned to a lifetime of PTSD. There are those who have. And my saying “Me too” implies that the ways in which I was trespassed against are equal to the more lethal ravishments suffered by my cohorts. In my mind, that homogenization of the brutality dilutes the urgency, belittles their misery. And belies the desperateness of the situation. Change needs to happen. Now. There is no excuse for the perpetuation of this hideous status quo.

Chanting “Me too,” we are a choir of outliers. We seek safety in the company of our peers, but who else is listening? Do the others – the guys in charge, the ones with the power to alter the circumstances – really hear? Our “Me too” seems to lack gravitas with them.In my mind is a pervasive image: We girls are gathered on one side of a great hall, the boys on the other. They are snickering.  They are pointing, saying, “There they go again, those girls. They think they’re making sense, but we know they only make whatever sense we say they make. Let’s wink at them, laugh, wave, nod, tell them they’re terrific. They’ll see we think they’re cute, and they’ll go back to doing their nails or whatever it is they were doing before this silly idea popped into their heads.”

I want more than a slogan, more than a chant, more than a refrain.  I want to see a true movement of women. One wherein women stop trying to undercut one another, stop vying for men’s attention, stop trying to trip their sisters as the sisters climb up the various ladders of achievement. I want a movement of women that offers true support to those who need the assistance of the sisterhood. A movement that empowers women and disempowers the male-dominated offices that disable us daily. A movement that stands up to the assaulters and the abusers and the disrespecters and makes it clear that we are not going to take it anymore. A women’s movement that is all-inclusive, that does not bar participation by ANY human being who identifies as a woman. Politics have no business in this movement. We need to form a circle and link arms and fend off the forces that would relegate us to a weaker sex, imprison us in our imposed inferiority.

Women need to see that there will continue to be “me too” generations till the end of time until and unless we women put a stop to it. By standing together, we could take over the system. We could do more than right the wrongs aimed at us. Our power could enact safer gun controls, create affordable universal health care,  reduce our collective carbon footprints, viably reform public education, etc. We could make life less terrifying for all.

With something like true unity, we could conceivably change the world.

That’s when I’ll pipe up with a “Me too.”

 

 

All Power to the People

“Get down on your knees to remember what it’s like when the people
with power
literally loom over you.” 
Roald Dahl

The suggestion that Charlie and the Chocolate Factory and The Price, now playing on Broadway, are comparable might leave the impression that I am delusional. Or painfully simplistic. And I hardly expect that anyone will run out to see the two back-to-back as I did last week. But I did, and I am compelled to point out the commonalities. And I’m not stretching.

Obviously, the plays represent vastly differing worlds. Charlie is a musical based on a children’s book by Roald Dahl. It takes place on the streets of London and in a fantastical candy factory. The Price is a drama, written by the iconic American tragedian Arthur Miller. This one is set in a prewar New York apartment, about to be torn down. But they were written by left-leaning writers deep in the throes disillusionment. Each features a protagonist who has been victimized by the vagaries of economics. Both reflect a kind of nostalgia for a humanity that is all too rare in our greed-driven society.

Arthur Miller’s The Price, on Broadway, starring (l to r) Jessica Hecht, Mark Ruffalo, Tony Shalhoub, and Danny DeVito.  Photo courtesy of The Roundabout Theatr.

What began my thinking process was the set of the current production of The Price, directed by Terry Kinney. In this iteration, designer Derek McLane has taken Miller’s hyper-real descriptions and created a surreal environment. The regal old world furniture of the bygone era of the family’s fortune flies suspended like memory over the action of the play. Memory is addled by time and perspective. We cannot trust it. But it dangles insistently, sometimes as a comfort but more often as a Damocles sword.

Charlie and the Chocolate Factory is entirely surreal. The play, with music and lyrics by Mark Shaiman and book by David Grieg, is set in the realm of the imagination. Memories mesh with wishes and become a kind of armor. Director Jack O’Brien and Designer Mark Thompson have kept the stage starkly simple.  The audience must suspend disbelief and accept this world as a real possibility.  Otherwise they miss the play’s fundamental truth.  Without his fancy, Charlie Bucket (Ryan Sell on the day I attended), might never see what life has to offer. Along with Charlie, we must reach out to worlds “not yet conceived, worlds that must be believed to be seen.”

Charlie is a member of a family so poor they eat rotten Brussels sprouts and make soup from moldy cabbage. His mother Mrs. Bucket (Emily Padgett), a widow, is responsible to feed an absurdly large number of mouths. She has no time or patience for the world of imagination that holds her son in its thrall. She wishes she were free to dream, but she’s been crushed by circumstance. Charlie’s four grandparents live in a single bed in the loft above the kitchen of their little flat. At first, none of them is able to leave that bed. The entire contingent seems cynical, resigned to their predicament, willing to remain prisoners of their poverty.

Grandpa Joe (John Rubenstein), Charlie’s paternal grandfather, is 96 and a half, “about as old as a man can be.” He worked for Willy Wonka when Wonka had nothing but a candy store and then became a security guard at the factory. But spies infiltrated the chocolate world and stole the recipes, forcing Wonka to fire everyone, including Mr. Bucket. Mr. Bucket is not bitter. He understands that his firing was a symptom of the company’s overall failure. And the company’s failure as a sign of the times.

As the story commences, Wonka (Christian Borle) has only just begun to recommence production of his most famous chocolate bar. The Golden Tickets he has hidden in the candy bars serve two purposes. They offer incentives for customers to try the candy and become fans. And they provide Wonka with an opportunity to seek out an honest person to inherit his legacy. He seems to be a man who will cheat even so sweet a boy as Charlie just to make a buck. But things are not as they seem.

In the current production, directed by Jack O’Brien, Charlie is a blithe spirit. He breezes through his troubles without resentment and greets his dismally accoutered world with unerring optimism. When he meets Willy Wonka disguised as a local candy store proprietor, he perceives a chance to be useful and subjugates his own burning desire for the Golden Ticket to the older man’s need for an assistant. He is not paid for his labor, and he never complains, even when a paycheck might enable him and his surreal coterie of bedridden forebears a decent meal. Wonka is a devious guy, squirrely, avaricious. But by the end of the play our suspicions about him are proved true: he’s a sensitive despot, a kind master. He manipulates fate a bit so that Charlie’s wishes can come true.

When Charlie finally finds a ticket after several unsuccessful attempts, he stands out among the winners as the only respectful, grateful presence in the group. Wonka has met him but in disguise and knows what to expect from Charlie, and Charlie does not disappoint. He is unfailingly concerned for the well-being of the others, and he is scrupulously honest and forthright. Charlie is the only contestant, whose eyes are not blinded by the grand prize.

He navigates every moment, present and cognizant of what is around him. He sincerely seeks to learn all there is to know about making chocolate, inventing new treats. He may be poor, but he has real soul. He has drive, but he is not driven to thwart others in his pursuit of his goals. He is a mensch. And this, we come to learn, is what Willie Wonka had hoped he would be. The meek shall inherit after all.

The Price protagonist Victor Franz (Mark Ruffalo) is walking collateral damage. His father lost everything in the Great Crash of 1929, and Victor’s future was compromised. He missed his chance to go to MIT and “be somebody.”   But Victor never questioned his responsibility. He moved in with Dad, took care of him when he was incapacitated, and sacrificed his will to the needs of the older man. He may not be as jovial as Charlie, but he is no less circumspect. He understands what his choices were, and he has no regrets. He has served as a policeman, has raised a fine son, has never stopped loving his cynical, needy wife (Jessica Hecht).

Victor’s wife is endlessly dissatisfied with everything except her husband, to whom she is unerringly loyal. But she wants more than he has to offer. She begs him to sell the contents of his father’s house at an inflated price. She wishes to buy her way into a life she deems more suitable than that of a policeman’s wife. Knowing the antiques appraiser is on his way, she encourages Victor to embellish the worth of his father’s belongings, to lie about their provenance.

Victor’s older brother Walter (Tony Shalhoub) also encourages the younger man to sell out to the highest bidder. Victor sees the inherent worth in the memories imbedded in his father’s furniture. Walter sees only the dollar value. He wants Victor to find a cutthroat appraiser/salesman, one who will fetch the highest price. There is no honor in memory, he insists. Only in wealth.

Mark Ruffalo, as Vincent Franz, and Danny Devito as Gregory Solomon in Arthur Miller’s The Price . (Photo by Joan Marcus)

The appraiser Gregory Solomon (Danny DeVito). is a possible agent of change not unlike Willy Wonka . Solomon, like Willy, is a purveyor of goods and seems to be out to take advantage of the honest man. But, like Wonka, Solomon appreciates the younger man’s honesty and his integrity. In the end, he enables Victor to keep his integrity, to remain faithful to his way of life. Victor will retain his Name. In an Arthur Miller play, the name is all.

It would be tempting to liken the productions on other levels. Danny DeVito,for example, making his Broadway debut, seems to have taken a few moves from Christian Borle’s play book. His Solomon is a Vaudeville version of Borle’s Commedia-based Wonka; both milk physical presence to augment the humorous irony of their characters. But that’s not the point.

We live in an era when most of us feel like Dahl’s intended audience. We are all “on their knees,” looking up at the giant fist of oligarchic power. Too many of us know what it is to be derided, as Victor is, for being satisfied with remaining in the economic middle class. We’ve felt the ridicule that Charlie endures for being poor. What makes both The Price and Charlie and the Chocolate Factory so satisfying is that their heroes stand in and up for us.  They show the world that right is might in all the ways that matter.

Christian Borle as Willy Wonka, in Charlie and the Chocolate Factory, now playing on Broadway (photo Courtesy of the Lunt-Fontanne Theatre).

Best of all, neither Victor nor Charlie has lost his way. Neither has given in to the pressure to embrace the attitudes of those who perceive the un-rich as “losers.” Both have retained an innocence and a positivity that enables them to revel in their successes. By being good, honest people, they believed they would prevail. And despite encountering others whose greed and pride could undermine them, they do.