Alexander Hamilton – We Want You Back!

Republicans

Three years ago, when I started the Surviving Seattle blog I thought it was important to look for a silver lining up here in a corner of the country cursed with short days and wet weather. Could a high-desert émigré find happiness in the soggy Northwest? I thought I could. I decided to write my way out of the gloom by finding interesting and entertaining things around Seattle – travel, books, art, music, dance, food and local theater.

That plan was working fine until August 6, 2015 when fifteen Republican Presidential aspirants showed up for a debate on Fox News. It was disturbing. I struggled to understand how the American electorate could tolerate a slate of such self-promoting, narcissistic, vulgar, blockheaded candidates? I tried to look away and trust that America would come to its senses. As much as I wanted to ignore it, I couldn’t. It was like watching a slow motion train wreck, and it made me wonder what the Founding Fathers would think.

In the latest Atlantic (April 2016) in an article entitled The New Value of Fiction, the author advances the theory that the recent decline in novel readership leads to a “deficit in empathy” that “imperils a democratic culture, and that novels keep us entwined and engaged when we might otherwise drift apart in shrill and narcissistic self-certainty.” Well, the drift is on and lack of empathy makes as much sense out of this situation as anything else I’ve heard.

Coincidentally, as I was questioning the American electoral process, I was also listening to the soundtrack of the blockbuster Broadway musical Hamilton. Times have changed and we’ve put a shiny gloss on the Founding Fathers, but they weren’t perfect either and in some ways there are lessons in the comparison.

Hamilton

In Hamilton we see and hear about the chaos and clash of personalities at the founding of our country. Lin Manuel Miranda, the composer, has given us a surprisingly creative Broadway musical that tells the story of the early republic – a hip-hop, non-white version of early American history starring Alexander Hamilton, Thomas Jefferson, James Madison, Aaron Burr and George Washington.

Both the 2016 election and the new Broadway musical are messing with our minds. Both are non-traditional. What’s going on here? This isn’t what we expect in a slate of candidates. Is hip-hop the right vehicle to tell the founders’ story? Who are/were those guys? What are/were they like? What are/were their concerns? How do/did they act? What can we learn about/from them?

Based on Ron Chernow’s 2004 biography of Alexander Hamilton, Lin Manuel Miranda has transformed the scholarly text into a rocking theatrical experience. Of all of our founders, Hamilton is the outlier, just as Trump is in the campaign today. He was the Caribbean born “bastard son” (Miranda lyric) of a Scottish immigrant and a married British West Indian mother. He is probably the least celebrated of the founders, and unlike Washington, Adams, Jefferson, and Madison was never President, but in many ways he may be the most important figure in turning the country into what it is today.

Philosophically, Hamilton envisioned large cities, a strong central government, a powerful banking system and less power for the states. His vision of America is like Hillary’s. Jefferson, on the other hand, advocated a weak central government, low taxes, and a self-reliant population. So does Trump, but to paraphrase Lloyd Bentsen, “Mr. Trump, you’re no Thomas Jefferson.” Hamilton and Jefferson hated each other. Sound familiar?

Ignorance and Confidence

The Revolutionary Era was turbulent and with the exception of George Washington (Barack Obama?) none of the characters was of high moral character. The brilliant Hamilton, author of The Federalist Papers, though married, engaged in a notoriously public affair with a blackmailing prostitute, insulted political rivals in public, and was eventually killed by Aaron Burr in an honor duel. Jefferson, author of the Declaration of Independence, whose public life was exemplary, was a slave owner who had several children with his black slave mistress. There may not be exact equivalents in this election but Trump, with his three fashion model wives, dubious and controversial business history, and lust for the spotlight is up against Hillary with her philandering husband and widely doubted integrity. What would George Washington think?

What’s behind the unusual cast of characters in this election cycle? Frustration and anger have emerged as the emotional responses to a political system that is broken. Congress isn’t even trying to work together. The President is handcuffed by our system of checks and balances, and the electorate’s hatred of business-as-usual politicians has them willing to look at non-traditional choices – Donald Trump, Ted Cruz and Bernie Sanders, Ben Carson.

Whether it’s caused by a lack of empathy or something else, Republicans have uncaged an angry, vocal, small minded minority who think America has given in to terrorists and let tyrants like Putin and Kim Jong Un kick sand in our faces. If only we built a wall, deported all the foreigners, lowered taxes, repealed Obamacare, powered up the military, and unleashed Israel to fight our battle with Iran everything would be fine. Just like it was in 1950. We would have the lily-white, racist, misogynistic, homophobic paradise these faux-patriots love to celebrate.

I’m sorry Republicans your narrative is nonsense. You’re living in a fantasy world. In 1945 America bombed Japan into submission and the world changed. Nine nations now have nuclear weapons. State actors are no longer the biggest threat to world peace. ISIS is a moving target. The Middle East is not a WWI construct. Israel is no longer a safe haven for Jews fleeing fascism or communism. Russia is no longer monolithic. China owns the majority of US debt. The world is a lot more complicated. 1950 solutions no longer apply.

On the Democratic side, Bernie Sanders, a Democratic Socialist, wants to build a 1960’s utopian society by reforming Wall Street and the financial system, increasing taxes on the wealthy, reclaiming corporate profits being held offshore, bringing manufacturing back to America, expanding child-care, guaranteeing parental leave, providing free college tuition, building a single payer universal health care system, lowering taxes for the middle class, and increasing social services. Sounds great, but the funding plan looks like Swiss cheese?

It’s hard to know how Hamilton and Jefferson would react to the current political scene, but I imagine they would be appalled – not by the policy differences but by the lack of civility, cynicism, and in some cases outright ignorance. Despite their personal failings, the founders were giants and visionaries. They fought personal battles with political adversaries but also argued the merits of different approaches to building the new nation – the one we’re still fine-tuning after 225 years.

If you need a refresher on the creation of America you should listen to the soundtrack of Hamilton. It’s an entertaining short course in our history. It’s so remarkable that the Broadway run is sold out through November (election time) of 2016. A friend of mine was able to find a ticket for her upcoming New York visit but the resale market priced the ticket at $750. If you can’t see the musical you can amuse yourself with an original cast CD from Amazon for $22.98 or listen to it on Spotify, like I am.

I guess I’m not alone in wondering about the Founding Fathers:

Founding Fathers

Escape to Hawaii…

Testing the Limits of Tolerance and Compassion

Refugee Camp

9,000,000 Syrians displaced from their homes since 2011,

4,000,000 Syrians seeking asylum in Western Europe,

1,900,000 Syrian refugees in Turkey

1,100,000 Syrian refugees in Lebanon

629,000 Syrian refugees in Jordan

3000 refugees camped in squalid conditions on the northern tip of France.(above)

3000 refugees arriving DAILY on the Greek island of Lesbos

2174 Syrian refugees accepted in the US since 2012

What would Will McAvoy and MacKenzie McHale do with this material?

Will (Jeff Daniels) and MacKenzie (Emily Mortimer) are, respectively, the news anchor and executive producer characters on HBO’s drama, The Newsroom. They are also my proxies for how news should be delivered. I recently binge watched the whole of the HBO series about a fictional news network. I was upset to discover that the show had been canceled after Season 3. Though flawed in some respects, the underlying premise of this Aaron Sorkin drama is that a news network committed to excellence can, without compromising principles, deliver a quality product and shed light on what’s happening in the world. Wouldn’t it be refreshing to get our news straight up, warts and all, in spite of  “market forces” – ratings, social media, and low expectations – working against us?

I like both actors, but the series caught my attention because I’m trying to stay informed, trying to be the best Jack Bernard I can be. As a self-identified news junkie I want my news served straight up with integrity. I’ve lived in places where it has been done. I know it’s possible. Even here in America some are making an effort. I think Will and MacKenzie’s struggles with their bosses mirror the real thing but they persevered and so should we.

NewroomContrary to this message, US networks and news outlets don’t appear to be on a mission to civilize. Rather, they are focused on maximizing profits, so while the world bleeds, Americans separated from global problems by two oceans and the European landmass, are currently being fed the inane, xenophobic, self-promoting utterings of a group of Presidential wannabes instead of the gut churning global events that are shaping the future.

If these networks (and candidates) were true statesmen they would be laying out the problems and offering solutions. There are differences to be sure but we’re getting only platitudes and venomous taunts. They need to get over Obamacare. It’s here to stay, and we are not in danger of a socialist takeover even if Bernie Sanders becomes President. Stop it! You have no grasp of the real global nightmare. Driven by ambition and determined to promote themselves by disparaging immigrants, abortionists, and each other, they swagger and lie and take selfies at rallies. They are acting like elementary school bullies. I’m already exhausted and there are still 10 months remaining in the 2016 election cycle.

Instead of parsing the words of the “candidates” we should ignore them for a few months and look for solutions to the tragedy unfolding in Western Europe, in the South China Sea, and surrounding the teetering edifice that is South Africa. These are real.

Where is the compassion and moral outrage over the European refugee crisis? Millions of families are fleeing the carnage in Syria, Iraq, Libya, and Afghanistan – and Central America. Families have lost everything.  Europe is hemorrhaging. The Middle East is choking with failed states. Mexico is run by drug lords, and Honduras is the murder capitol of the world. The globe is in crisis. There is an ongoing worldwide human tragedy in progress and it’s going to affect all of us sooner or later.

According to the United Nations High Commission on Refugees (UNHCR) there are 59.5 million forcibly displaced refugees in the world. Somewhere between 9 and 11 million of them are casualties of the war in Syria. The situation worldwide is catastrophic, and some of the situations are of such magnitude and horror that they defy solutions. The growing number of refugees is the most obvious problem. The numbers are alarming. 3000 exiles arrive every day on the island of Lesbos and move on through Macedonia, Croatia and Slovenia to the promised land and relative security of Northern Europe. We are being asked to hit the Refresh button on our compassion every day that this continues. We are near the limits of tolerance and compassion.Refugee 2

We  are in danger of turning our backs on these families who have already suffered so much. Every day we see scenes of roads choked with exiles, or images of drowning victims, or the squalor of the Grande-Synthe camp near Calais where 2600 people share 32 toilets as they wait until nightfall and try to escape on semi-trailers entering the Chunnel headed for the relative safety of England.

How DO you report this kind of news daily and still maintain its urgency? News consumers are suffering from refugee exhaustion. Our senses are dulled by the repetition. It’s difficult to face this reality day after day. Our compassion is real but the repetition drains our energy. The sheer numbers and logistics involved are testing the limits of our tolerance, humanism, and compassion. What can we do to alleviate the pain, address the problem, and assimilate the victims of this tragedy?

Germany, the most generous of the European countries, is running out of money and ideas. The fleeing refugees are destabilizing Western Europe and draining the coffers of smaller countries. It’s a global catastrophe unlike anything we’ve seen since World War II. I know we can do better, but we are up against forces like Russia’s Putin, ISIS, and the regime in Damascus. There are no easy solutions but clear-eyed news reporting would help keep us focused on those who have tenable solutions to these complex and complicated problems.

Sometimes I think the fake news formats of late night comedy do a better job of reporting than the major networks. Stephen Colbert, Larry Wilmore, Trevor Noah and Samantha Bee highlight the important events better than their prime time counterparts. Am I confusing “entertainment” with “news?” Which is which? I miss Jon Stewart, but his avatars are continuing the good work.

Will McAvoy and MacKenzie McHale have given me hope that there are sincere, concerned, and intelligent professionals at work in the field. For now, I’m relying on Charlie Rose and the informed world citizens he brings to the table to discuss issues. I hope the world’s leaders are watching. I think they are. I see Charlie talking to and about them. Sometimes it seems like he’s the only one doing it. He has three programs going at the same time: Charlie Rose (PBS), Charlie Rose The Week (PBS), and CBS This Morning (CBS). I’m grateful that he’s so hard working. I know Will and MacKenzie would approve too.

Charlie Rose

At times like this it’s important to have perspective. This is not the first time in history that things have looked bleak. Just 100 years ago WWI was underway and before it was over 17 million were dead and 20 million wounded. More than 60 million died in WWII (according to Wikipedia). There have been wars, plagues, and natural disasters throughout history, but Dickens’ opening paragraphs ring as true now as they did when they were first written in 1859.

  • It was the best of times, it was the worst of times, it was the age of wisdom, it was the age of foolishness, it was the epoch of belief, it was the epoch of incredulity, it was the season of Light, it was the season of Darkness, it was the spring of hope, it was the winter of despair, we had everything before us, we had nothing before us, we were all going direct to Heaven, we were all going direct the other way – in short, the period was so far like the present period, that some of its noisiest authorities insisted on its being received, for good or for evil, in the superlative degree of comparison only. (Tale of Two Cities)

 

A Lesson in Humility

Robert Heilman

Starbucks and public libraries have become offices and workspaces for the free-wheeling, untethered GenTech demographic – students of all levels, flextime workers, freelancers and other self-employed. I never gave serious thought to a full-blown retirement, but three years ago when I left the world of the regular paycheck I started looking for a work environment where I could feel comfortable and productive as I started the next phase of my work life. In that process I tried various coffee shops, libraries, public spaces, and and my own home as offices but I disliked the choking air, obligation to buy, and smelly clothes that came with Starbucks, the library spaces that never felt comfortable or private enough, and the distractions of working at home.

Last week I tried a new “office” at Folio, Seattle’s start up non-profit whose avowed purpose is to serve as “a gathering place for books and the people who love them.” It sounds pretentious, but it’s actually a warm, welcoming, and uncrowded place. Among other benefits it offers members a lending library, reading room, workspace and a congenial staff – all for $125 a year. I wrote about it a couple of months ago when it was just an idea, but it officially opened on January 20th and I began using it last Friday. I’ve only tried it once, but Folio seems to meet all of my workspace needs.

Folio

What could be better than a quiet space surrounded by books and comfortable places to read them? I’ve mentioned before how I love bookstores and can’t walk by a used or bargain book counter without seeing something that feeds my curiosity. At Folio, near the reception desk there are two tall bookcases; free books in one and $2 books in the other. Both are overstock from collections donated to Folio. Friday, I discovered the Robert Heilman book of letters (above) in the $2 bookcase and bought the 900-page volume without even looking inside the cover. Dr. Heilman was the Chairman of the English Department at the University of Washington from 1948 – 1975. I remember him with great respect; as the Chairman when I was an undergraduate and, coincidentally, as the father of my friend Pete Heilman.

The Heilmans were not close friends of my family, but one of my favorite personal stories from those college days occurred when Pete asked if I would like to have dinner at his parent’s home. They were planning to entertain Theodore Roethke, his wife Beatrice, and Roethke’s publisher at Rinehart. It was a big league invitation and heady company for a 19 year-old English major. I was nervous and excited at the same time.

The evening began with small talk in the Heilman’s kitchen, including a story of how Thomas Wolfe, a physical giant, who as he was writing You Can’t Go Home Again used the refrigerator in another Heilman home as his desk, and wrote on it standing up while keeping up his side of an ongoing conversation. My eyes and ears were popping. Famous literary names were dropping everywhere.

When dinner was ready we moved to the dining room. Pete and I hardly spoke. He was probably used to it, but I was awestruck. Roethke was already a Pulitzer Prize and National Book Award winning poet. Five years later James Dickey described him as “the finest poet now writing in English,” and added, “I say this with a certain fierceness knowing that I have to put him up against Eliot, Pound, Graves and a good many others of high rank.” Pete’s father, in turn, was a nationally recognized Shakespearean scholar, and his mother was an English teacher at St. Nicholas School. The publisher from Rinehart was an urbane New Yorker with a Yale pedigree, and I sincerely hoped none of them would ask me a question.

During dinner someone made a comment that provoked a lot of laughter, including mine. Everyone laughed except Roethke who quizically said, “I don’t understand the allusion.” I cringed. Roethke had a history of mental illness, had been in and out of several institutions, and though an excellent teacher was a little scary and unpredictable in class. I didn’t understand the allusion either but was embarrassed to admit it and feared that by his question my ignorance would be revealed. It wasn’t. In fact, nobody noticed me at all. Roethke’s confusion was quickly addressed and the whole exchange took less than a minute, but it got my attention and stuck with me. The smartest man in the room was not afraid to admit he didn’t understand something. It was a first hand lesson in honesty and humility.

This is the US Postal stamp of Roethke in its poet series, and below it my favorite of his poems:

Roethke

      The Waking

I wake to sleep, and take my waking slow.

I feel my fate in what I cannot fear.

I learn by going where I have to go.

 

We think by feeling. What is there to know?

I hear my being dance from ear to ear.

I wake to sleep but take my waking slow.

 

Of those so close beside me, which are you?

God bless the Ground! I shall walk slowly there,

And learn by going where I have to go.

 

Light takes the Tree; but who can tell us how?

The lowly worm climbs up a winding stair;

I wake to sleep but take my waking slow.

 

Great Nature has another thing to do

To you and me; so take the lively air,

And, lovely learn by going where to go.

 

The shaking keeps me steady. I should know.

What falls away is always. And is near.

I wake to sleep, and take my waking slow.

I learn by going where I have to go.

The Heilman book is fascinating. Younger folks might not appreciate it and think it dated, but the correspondence includes serious discussions with many of the literary giants of the 20th Century – Saul Bellow, Bernard Malamud, Charles Johnson, Robert Penn Warren, Malcolm Cowley, William Carlos Williams, Roethke and many others. There are in depth letters that discuss the House Un-American Activities Committee’s threat to freedom of speech and the anti-Communist purges of the 1950’s as well as lighter ones in which Dr. Heilman complains to Robert Penn Warren about the chaos and mess his grandchildren create when they come to visit.

I don’t plan to read the Heilman letters cover to cover, but I do plan to keep the book on the coffee table for a while. It’s great reading in short spurts. Open it to almost any page and it reminds me that before email, Facebook and Twitter there was another form of written communication – serious, thoughtful, engaging, slowly written, thought provoking conversation on paper between two people with ideas to exchange.

This is a picture of Parrington Hall on the University of Washington campus where Dr. Heilman, Theodore Roethke, David Wagoner, Charles Johnson, Angelo Pelligrini and other’s shared their love of literature with those of us lucky enough to have them as teachers and mentors.

Parrington Hall

Rinse and Repeat…

Manon Lescaut

When the days get shorter and the weather drives us indoors, many of us feel a corresponding pull to the personal interior as well. Productivity increases and it’s somehow easier to sit down and attack that stack of bills or start the book that’s been sitting on the bedside table all summer. It’s also the beginning of theater season as local companies try to lure the audience back inside. When the skies are dark and the windows are streaked with rain it’s easier to get lost in a novel or let the characters on stage transport us to a different place.

Except for “Summer Theater” most live theater companies plan a schedule that starts in the fall and ends in the spring. Seattle has a particularly active theater community, 26 companies at last count, and I rely on live performances as a major component of my Surviving Seattle strategy.

Though I’ve always enjoyed live theater it wasn’t until 10 years ago that I started paying closer attention to musical theater. Until then I thought of it as a kind of second tier entertainment – not current, not classic, just entertaining – but M is a big fan and knows a lot about it. She refers to it as America’s opera and that perspective has helped me see it with different eyes too. It’s also interesting to me that this 10 year period corresponds to Peter Gelb’s innovative Met Opera in HD initiative in which live performances of the Metropolitan Opera are broadcast to theaters around the world. Mr. Gelb has made it easy for us to see and hear the world’s greatest artists perform in an up close and personal relationship with the audience.

My guitar teacher, George, has a favorite phrase – Rinse and Repeat – when the chorus of a song comes around for the second or third time. He means play it again the same way. He’s pointing out that the chord progressions are the same and though there’s room for some innovation the musical line is a repeat. Rinse and Repeat

Last week I looked at upcoming productions for Seattle’s musical theater season, and here’s what I found: Matilda, Amadeus, How To Succeed in Business Without Really Trying, A Night with Janis Joplin, Paint Your Wagon, The Assassins, Kinky Boots, and A Gentleman’s Guide to Love and Murder. What’s the significance that five of the eight are revivals? It sounds a lot like the theatrical version of Rinse and repeat.

Over the years it’s become apparent that revivals are the bread and butter of performing companies. It’s always been true of ballet and opera, but more than ever it’s true of American musical theater. The stories are familiar. Audiences  pretty much know what they are getting and the box office knows it can count on a certain level of revenue. The traditional repertoire is rinsed and repeated countless times every year, but opera and musical theater directors have recently turned to re-crafting their traditional material to reflect the times.

These are not your mother’s revivals, stale reproductions of the old repertoire. The stories are restaged and retold in ways that engage today’s audiences. Last year the Met set its version of Rigoletto in Las Vegas with the Count and his friends as a Rat Pack-like ensemble, and on March 5th Puccini’s Manon Lescaut will be set in Nazi occupied Paris in the 1940’s rather than the original 18th Century.

Artistic directors everywhere are seeing the substance and value of older work and on the lookout for ways to present it in new and different ways. Last week we saw a brilliant production of Amadeus in a small venue directed by the astonishingly talented Shana Bestock of Seattle Public Theater. Amadeus, Peter Schaffer’s fictionalized story about Mozart’s rivalry with Antonio Salieri, was first performed in 1979 and later made into a film by Milos Forman. The revival at The Bathhouse took a fresh look at a modern classic and downsized it to its 150-seat home.

Bathhouse Theater

Speaking of updated revivals, last night M and I saw a 5th Avenue production of the 1961 musical How To Succeed in Business Without Really Trying. I’m not a theater critic but I thought the producers did a credible job with material that at times seemed dated. This is a period piece. Like “mid-century” furniture that has enjoyed a recent renaissance of interest though most of us who were there in the 50’s and 60’s couldn’t wait to get rid of it, How to Succeed relies on the energy of the cast to keep it fresh. In that regard this cast delivered a polished performance and the Piet Mondrian inspired sets were perfect reflections of the art currency of the 1950’s.

How to Succeed

Nevertheless, as I watched the play proceed, the success of Mad Men was ever present in my consciousness. I was disappointed that as the lead character ascended to the position of Sr. Vice President for Advertising, the producers didn’t inject some tongue in cheek references to Robert Morse, the lead character in the original  and 50 years later the dotty senior partner in Mad Men. There were spots in the dialogue where a reference to Morse, Don Draper, Jon Hamm, or Christina Hendricks would have provided a few contemporary notes to freshen it for today’s audience. All in all, the evening was entertaining and the second act better than the first, and the audience stayed in their seats to the end.

Live theater is a tough business. Arts funding follows economic cycles and relies more on loyal philanthropic individuals and entities than ticket sales, but filling the theaters is what drives the philanthropy. Revivals play a big part in keeping a company viable, but they need to be freshened to keep things interesting. What Bartlett Sher has done in the last five years with Tony Award winning revivals of South Pacific, The King and I, and Fiddler on the Roof shows that creativity extends beyond the original production of these classic musicals. It’s a tribute to the Seattle arts community that it has been a leader along with New York in maintaining the breadth and diversity of its live theater.

If you’re in Seattle this month you can see How to Succeed at the 5th Avenue through February 21st, and wherever you are on March 5th you can catch the very updated, modernized version of Puccini’s Manon Lescaut at a Met Opera Live in HD performance in a theater somewhere near you. (Check it out at https://www.metopera.org/Season/In-Cinemas/Theater-Finder )

Enjoy! There is nothing like live theater!