Mom told to take down ribbons

Published in the Current and the American Journal

A South Portland mother who has been putting up yellow ribbons around the
city to support her soldier son has been told by the city to take them down.

When the war in Iraq first started, Valerie Swiger’s son Jason, 21, a member of the 82nd Airborne Division, was serving there. Back home, his mother hung yellow ribbons around the city as a sign of support for all of the soldiers, sailors, airmen and Marines.

City officials say there is an ordinance on the books that prevents displaying any personal message on public property – including notices about garage sales and missing pets – and while her ribbons have been up for some time, they now have to come down.

Swiger said she never knew about the law, which has been on the books since the 1960s, and told several city officials of her intentions, but none of them ever told her she couldn’t hang the ribbons.

In April, she said, she went to the City Council to tell them about her ribbon campaign. Nobody said a word to her then. She even got a call from
someone at City Hall – she won’t say who – asking if they could have a couple of ribbons to hang there.

Swiger didn’t hear anything but support until City Clerk Susan Mooney called recently to say someone had complained that the ribbons were
getting dirty and tattered. Swiger offered to replace them.

“I feel they should remain up. It’s not over,” Swiger said. She was especially sensitive about the issue because Jason had called the day before to say he was headed back to Iraq.

Swiger said Mooney told her the ribbons couldn’t be placed on utility poles, to which Swiger agreed. Swiger said it wasn’t until the next day Mooney called with the bad news: The ribbons were against the law.

Now Swiger is being told she had violated the law from the first day she put the ribbons up. City Manager Jeff Jordan said police and code enforcement officers do enforce the ordinance, though he said it’s not a “high priority.”

The ribbons violate the ordinance, Jordan said, because they make a personal statement. “We probably should have” told Swiger when she first put the ribbons up, Jordan said. “We might have gotten a bit caught up” in emotion as war began, he said.

He encouraged Swiger to continue her ribbon displays, as long as they’re not on town property.

“They can be put in lots of different places. Just put them on private property,” Jordan said. “Don’t put the city in the position to regulate
content on public property.”

Swiger doesn’t think the ribbons are offensive. “That yellow ribbon doesn’t say Republican. It doesn’t say Democrat. It doesn’t say war. It doesn’t say Bush.” What it does say is, “we respect what you’re doing. Hurry home. We’re waiting.”

District 1 Councilor David Jacobs, who represents the area including Swiger’s home, said he is sympathetic to Swiger, but must stick to
the law. “Even though the ribbons are intended to send a positive message, they are still a symbol of personal expression that’s prohibited by city ordinance.”

He said allowing the yellow ribbons puts the city in a bad position if anyone else wants to put up a sign. “Clearly the city has been looking the other way,” Jacobs said. But that will end now, he said.

Swiger stands firm. “I am not going to take those ribbons down,” she said. Further, she wants a change to the city ordinance that will allow the ribbons. She also wants yellow ribbons to be displayed at public buildings and on the “Welcome to South Portland” signs along roads at the city’s boundaries.

District 4 Councilor Chris Bowring has asked the council to discuss the matter at a September workshop. He wants to see if the language could be modified or interpreted to allow the ribbons.

Swiger said the message is important, and helps keep the soldiers motivated and alive. “I think they deserve a little respect.”

Keep dancing, Sally: Struthers shakes it at Ogunquit

Published in the Portland Phoenix

Starting with a rousing "Yee-haw" from the audience, Always . . . Patsy Cline is a romping love affair of a musical, telling the story of one of the country music star’s most obsessed fans, and the unusual friendship that develops between them.

Louise Seger (Sally Struthers) is a Texas-sized woman with Texas-sized hair and a "Texas-sized imagination" who loves to listen to the music of her favorite singer, Patsy Cline (Christa Jackson). She first heard Cline on the "Arthur Godfrey Talent Scouts Show" in 1957 and immediately fell in love with the singer’s voice.

Indeed, Jackson has mastered the twang, squeaks, and near-glottal-stops that made Cline’s singing so unique. But her performance is limited to an impersonation in a staged retelling of a story. Her singing is indeed excellent. And she hits all Cline’s big songs — there are 19 in the show and three as a sort of built-in encore. Yet her character is never truly developed. The only glimpse we really get of Cline’s inner life is in one short letter, the first she ever wrote to Louise, which appears late in the show.

Perhaps this is because the play is "licensed by the family and estate of Patsy Cline," as the program helpfully informs. There is no mention of — not even a cryptic allusion to — Cline’s rocky love life, including two husbands and at least two affairs. The best we get are stand-alone songs about broken hearts and promises, with no explanation that the reason Cline sang them with such feeling was that she identified all too well with the subject matter.

Fortunately, Struthers saves the play from being a flat set of unconnected songs. It is her narration and show-stealing performance that keeps the audience entertained throughout.

This is very different from how many of us know Struthers today, on television raising money for Save the Children. It is a reminder that Struthers won two Emmy Awards — admittedly, the most recent in 1979 — for her role as Archie Bunker’s daughter, Gloria, on TV’s All in the Family.

Here she plays a Southern woman, complete with a garish fringe-shirt like those an editor of mine in Missouri used to wear. Despite her middle-aged girth, Struthers remains remarkably flexible, and uses her entire body to convey her character’s deep emotions, from a celebration of divorce that nearly lifts off the stage to a "Shake, Rattle, and Roll" seated dance performance that must be seen to be believed.

Her stage presence is what makes this play. And though the Oregon native sometimes makes her Texas accent sound like a Dana Carvey impression of President George Bush I, she carries the stereotype of a fawning fan to a new height.

Chancing to meet Cline before a Houston show, Louise steps in and appoints herself Cline’s manager, then chauffeur, hotelier, and chef. She takes personally every aspect of the show, even conducting the band with a spare drumstick to make sure they don’t rush Cline’s soulful singing.

This is not a band that needs conducting. They play a number of characters as well, from a perhaps-they-do-need-a-conductor local backup band, to musicians in the spotlight themselves. All of them, including the steel player whose name is inexplicably omitted from the program, are excellent, neither overpowering nor undersupporting Cline and maintaining a current of energy throughout the show.

Some of that energy should have gone to the lighting crew. The spotlight operator was regularly late illuminating the stars. There was a strange "moonrise" during "Walking After Midnight," apparently because the light wasn’t lined up properly to begin with. And during some of the slow songs, the lights over the band flickered, not only distracting the audience but no doubt making the musicians’ jobs harder.

Struthers, however, needed no extra energy. Her outrageous antics sent both her and Jackson laughing regularly, and interactions with the audience brought everyone into the show.

The popular appeal of Cline’s music is made clear as she sings in Louise’s kitchen late at night: Louise identifies with every word. The audience left feeling like Louise’s reaction had been made manifest 40 years later: "It made me feel so alive."

Always...Patsy Cline
Written by Ted Swindley. Roy M. Rogosin, producing artistic director. With Sally Struthers and Christa Jackson. At the Ogunquit Playhouse, through Aug. 16. Call (207) 646-5511.

BACKSTAGE

• Thanks to the efforts of a lot of people from across the world, and most notably the teens themselves, the Story Quilt performance by the students in the Theater Project’s International Teen Festival went off superbly, melding tales and traditions to honor many cultures. Complete with an Arabic-speaking fox in a Palestinian fable, an overflowing pasta pot in the Italian tale of Strega Nona, and a practical solution for a too-noisy house, the teen actors amused audience members of all ages, including a little boy who added, from the seats, a second chicken sound-effect to the delightful cacophony.

• At Sanford Maine Stage, Rumors, by Neil Simon, opens August 15, detailing the calamitous evening a group of houseguests have, including gunshots, a car crash, and a visit from the police. Call (207) 324-9691 for tickets to the show, which runs through August 30.

British humor: Like the food, a bit dry

Published in the Portland Phoenix

Alan Ayckbourn is one of the funniest living playwrights in Britain. It is, therefore, no surprise that in a theater named after a region the British plundered, his humor doesn’t exactly hit the mark.

Ayckbourn’s play Relatively Speaking, now at the Acadia Repertory Theatre, no doubt has sent thousands of English audiences grasping at their sides and gasping for air.

And yet at nearly every laugh-line, the Acadia Rep audiences were silent. This is not the fault of the playwright, the director, nor even the actors, who, with a stiff English upper lip, kept on and made at least bearable what, elsewhere, would have been an entertaining show.

The problem was in the audience, and in particular the choice of this play for this audience. New Englanders are a genial lot, to be sure, but when faced with a play whose sole stock-in-trade is a cultural reference to somewhere else, we’re not a barrel of laughs.

Acadia Rep has built a strong reputation over the years as a place to see good, solid, fun summer theater. Ayckbourn’s plays have been well received by audiences before, the theater reports. If this year’s customers are like the overly considerate characters in the play, no doubt Relatively Speaking will be, too.

The plot hinges on people who are too polite to say what they mean, and overreach themselves to assume the best, imagining good things where they in fact have no clue what is happening.

A young man (Greg, played by David Blais), in love with a woman he has known less than a month (Ginny, Kimberly J. Forbes), proposes marriage just before she heads off for a weekend out of town. She says she’s going to visit her parents. Despite unmistakable signs that she is having an affair, he decides to surprise her — and them — by arriving unannounced to ask her father for her hand.

But he’s in for a surprise about his hosts’ identities. And they (Philip, played by Fred Robbins, and his wife Sheila played by Fred’s wife Liz) each suspect the other is cheating but are again, too polite to devise a confrontation about it.

Rather than the old-fashioned Yankee directness, the entire play is saturated with British deference. It requires, therefore, an implausibly large suspension of disbelief.

Nobody asks a pair of unknown arrivals who they are; when Ginny tries to tell Greg what’s going on, she doesn’t say, "they’re not my parents," but, rather, "she’s not my mother."

And what must be one of the funniest lines to all Britons is completely dead here: Fully uncertain who he is or why he has appeared in her back garden, Sheila invites Greg to stay for lunch. This invitation is one most British people could identify with, either as reflective of themselves or someone they know who is so proper they might just invite the bus conductor in for tea after a cheery request for a ticket. And it is also a line next to nobody in the US would ever utter to a stranger.

Nonetheless, the cast does well without much help from audience energy. Fred Robbins is an excellent blustering English country squire, his wife Liz is a dutiful Sheila, Forbes is a strong professional young woman with a streak of noblesse oblige, and Blais’s Greg is lovably missing something. Their awkward interactions are clever, and the actors seem to genuinely believe only what the characters "know" at the time.

Perhaps the crowning moment in this play, however, is the slapstick scene change partway through Act 1. Accompanied by the William Tell Overture, three stagehands, dressed as British removal men (that’s "movers") convert a London bedsit into a Home Counties estate garden. It was the first scene change I have ever seen that drew its own applause.

This is not Ayckbourn’s doing, however, but director Ken Stack’s. The playwright himself appears to falter from time to time in the play, resorting to weather as a conversation topic, as if even he couldn’t figure out where to go next.

He offers hints of hilarity, and of failure, including in this funny-but-not-here comedy a moment when Philip starts to laugh at a newspaper item, but then hems and haws his way to a halt. When Sheila asks what it was, he says, "I thought it was amusing, but it wasn’t."

Relatively Speaking
Written by Alan Ayckbourn. Directed by Ken Stack. With David Blais, Kimberly J. Forbes, Fred Robbins, and Liz Robbins. At Acadia Repertory Theatre, Mount Desert Island, through Aug. 10. Call (207) 244-7260.

BACKSTAGE

• This weekend in Brunswick: Frank Wicks’s Soldier, Come Home on Friday ($10; (207) 729-6606 for reservations); teens’ international Story Quilt at the Theater Project, once Friday, twice on Saturday, and, just-added, once on Sunday (pay-what-you-want; (207) 729-8584).

• What’s J-C got this time? Revenge. John-Charles Kelly, a Maine State Music Theatre regular with a Vegas past, brings the Strip to Brunswick August 11. Lynne McGhee, Ed Romanoff, Joyce A. Presutti, and Ray Dumont will share the stage with three theater critics — but not the Phoenix’s. Call (207) 725-8769.

• The Deertrees Theatre Festival in Harrison hits August 14 and 15 with Vanities by Jack Heifner, a female coming-of-age story for the 1960s and ’70s. You may yawn (another coming-of-age tale?), but the off-Broadway hit made loads of folks laugh. Call (207) 583-6747.

Candidates line up for county charter commission

Published in the Current and the American Journal

Nine local residents have put their names in for candidacy for the Cumberland County Charter Commission, which will be elected in November to find ways to improve county government.

Some issues that seem certain to come up in the discussions, no matter whom is elected, are increasing the size of the county’s governing commission, appointing rather than electing certain county officials and consolidating emergency services dispatching.

Seven are running in District 2, representing Baldwin, Cape Elizabeth, Frye Island, Gorham, Scarborough, South Portland, Standish and Westbrook. Voters will choose two.

Shawn Babine is a town councilor in Scarborough who believes “it’s the perfect time and opportunity” to look at “how we can improve all levels of government.” He wants to look at whether the county should have its own taxing authority, rather than sending bills to the towns, which then impose taxes. He wants the town to have a voice. “As Scarborough is growing, we need to become more involved in regional issues,” he said.

James Damicis of Scarborough also is running. He worked on a project 12 years ago at USM’s Muskie School of Public Service that predicted regionalization would have taken place around the year 2000. Formerly with the Planning Decisions company as a consultant for Scarborough’s Growth and Services Committee, Damicis wants to “make county government more efficient.” He also wants to make it “more visible.”

In Aroostook County, people who are asked where they’re from will say “The County,” while here, “they might not even know the county that they’re in,” Damicis said.

David Bourke of South Portland spent 30 years in private industry and plans to advocate for what members of the public say they want from the county during a series of workshops with the charter commission. He said his experience living in other areas of the U.S. could give him valuable ideas on how to do things differently here. “New England is really behind the times when it comes to” regionalization, Bourke said.

Nancy Larsen of South Portland said she has not had a lot of time to look at the charter. A former city councilor and mayor in South Portland, she said she knows that city’s charter very well but did not know the county doesn’t have one.

John McGinty is a Cape Elizabeth town councilor and a member of the county’s budget advisory committee who has expressed reservations in the past about the county’s budget process. “One of the first things on my mind is to make the county more accountable,” McGinty said. He wants there to be more commissioners. Now, “essentially you have two people controlling a $25 million budget.”

Harold Parks of Gorham spent his career working in public administration, including as administrative assistant to the mayor in Westbrook. He wants to regionalize services, including emergency dispatching. “We have these needs and at the same time we have limited resources,” Parks said. A regional view could help meet those needs with less money.

Robert Reynolds of Gorham, a Portland firefighter, said he believes it is time to consider “regionalization or consolidation of services.” He said 495 municipal entities for a million people is too many. At the same time, “I also want to make sure that there’s no degradation of services.” Now, there is too much fragmentation. “Every community acts as if the world stops at the town line,” Reynolds said.

For District 3, representing Bridgton, Brunswick, Casco, Freeport, Gray, Harpswell, Harrison, Naples, New Gloucester, Pownal, Raymond, Sebago, Windham and Yarmouth, there are three candidates, including Thomas Bartell and Lani Swartzentruber, both from Windham.

Bartell, a town councilor, said he wants to continue his involvement in county government, where he has served on the budget advisory committee and is now a trustee for the Civic Center. He wants to look at what other counties do, both in the state and around the nation. “I’m for effective government,” he said.

Lani Swartzentruber is a Portland attorney specializing in corporate charters and bylaws. She wants to do thorough research on the issues involved in a county charter. She supports smaller, more efficient government with fewer regulations but is reluctant to cut government positions in a state that “needs more good jobs.” And though if elected, she herself would be representing people in Brunswick, she disputed the ability of a Brunswick resident to accurately represent the needs of people in Windham, where she lives. “You can’t tell me that someone who lives in Brunswick” knows what’s best for Windham, she said.

Couple sues over bedbugs at hotel

Published in the Current and the American Journal

Richard and Lyn Alleborn of Wayne, Maine, have sued the owners of the South Portland AmeriSuites hotel, claiming that bedbugs ruined their Christmas shopping trip.

It is an incident state health inspectors say has never happened before in Maine.

The Alleborns checked into the hotel on Dec. 21, 2002. And just hours later, they fled the hotel, covered in bites from bedbugs.

Lyn Alleborn had won a stay at the hotel as a prize for doing good work with her employer, State Farm, according to their lawyer, Tracie Adamson.

The suit, filed in Kennebec County Superior Court, names Ocean Properties of Portsmouth, N.H. AmeriSuites immediately addressed and corrected the problem, according to the state.

According to the lawsuit, Richard Alleborn began to itch over much of his body shortly after he got into bed in his room at the AmeriSuites. His wife then saw a bug on her and pinched it on the bedding, causing the blood-engorged pest to burst in a spray of blood on the sheets, the lawsuit says.

“He was bitten all up his legs,” Adamson said. “She had many bites over her hands and wrists,” as well as elsewhere on her body. “Mrs. Alleborn was literally vomiting, she was so horrified,” Adamson said. Some of her bites started to scar as they healed.

The suit seeks payment for medical expenses as well as compensatory damages. “The medical payments are minimal,” Adamson said.

Even Adamson didn’t know that bedbugs actually existed until she heard the Alleborns’ story. Bedbugs normally hide in mattresses and in the walls, but are drawn out by body heat, Adamson said. “They actually suck your blood,” she said.

After the Alleborns left, the hotel staff disposed of the bedding, mattress and box spring and fumigated the entire room, according to a state Bureau of Health report obtained by the American Journal.

The company that conducted the fumigation agreed with hotel staff that “bed bugs were present,” in what a state inspector called an “infestation.”

No adjacent rooms were affected, and the room had been vacant for 20 days before the Alleborns checked in, the report says. By the time the state received a complaint from Lyn Alleborn, on Jan. 7, the problem had been rectified, and an exterminator had verified that multiple insecticide treatments had killed all of the insects, according to the report.

The report says “the hotel has taken both immediate and appropriate actions to remedy the situation.”

After reviewing state health inspection records, “we cannot recall another incident like this,” said Newell Augur, a spokesman for the Department of Human Services.

A duty manager at AmeriSuites said the hotel had done “more than the state asked” to fix the problem, and referred calls to the hotel’s general manager, Michael Siemion, who did not return several phone calls before the American Journal’s deadline.

Adamson plans to ask for a jury trial in the case. She doesn’t expect it to go before a court for at least a year.

Weaving stories

Published in the Portland Phoenix

Twenty teenagers — 18 from Maine and two Palestinians from East Jerusalem — are still hard at work exploring themselves and weaving a Story Quilt, which they will perform at the Theater Project, in Brunswick, next weekend. At any price, it’s a must-see. Even better, it’s pay-what-you-want.

The show is the culmination of the Theater Project’s three-week teen theater camp, which for the past two years was a Shakespeare festival. This year, renamed the International Teen Festival, it took on an international flavor and included instruction by theater professionals from Poland and East Jerusalem, with classes in improvisation, storytelling, dance, and music. Theater Project mainstay Al Miller made the international connections, and fellow TP regular Barbara Truex composed music along the way.

They brought in Khitam Edelbi, a drama teacher with the Palestinian Counseling Center in East Jerusalem. Edelbi, who taught at last year’s teen camp, helps Palestinian teens write, develop, and perform theater pieces about their personal lives in East Jerusalem. Also joining the group in Brunswick was Robert Wyrod, who runs the "We are the World" Theater Company for orphaned teens and homeless adults in Cracow, Poland.

Wyrod was supposed to bring two of his students, as Edelbi did, but the US State Department’s terrorism sentries barred the way, freely allowing two Palestinian teens to come to the US, but preventing two Polish teens from doing the same. (Thanks for the help in Iraq, Poland!)

The 20 teens "get along beautifully," according to the Theater Project’s Frank Wicks. Any potential differences among them are "just no big deal," he said. "They’re having so much fun."

In the process of theater games and other exercises, the show is still in development. "I think they’re just exploring themselves," Wicks said. "They’re playing with ideas of their own personal stories."

Also, Wicks and Miller are looking for host families to sign up to house more international students next summer. Don’t miss the show, which is certain to be as unique a creation as are the people who are dreaming it up even now. "We’ll see what the kids come up with," Wicks said.

The show runs August 8 at 7:30 p.m., and August 9 at 11 a.m. and 7:30 p.m., at the Theater Project, in Brunswick. Call (207) 729-8584 to reserve tickets.

Leaders look out: Beware Election Day

Published in the Portland Phoenix

There are times when loyalty to a higher ideal must surmount loyalty to a leader, and when those "in the know" believe that the people must be saved from themselves. Witness, for example, the politically divided nation in which we dwell: For many dissenters against war and imperialism, against unrestricted police surveillance and ignored freedom of information laws, loyalty to liberty trumps any fealty to President George W. Bush.

They fear losing the foundations on which this country is built. They join a grand (if not conspiracy, then) alignment, to bring down King Dubya. And yet, as Shakespeare’s Julius Caesar warns, the Bush-backing majority (though their numbers are falling), would take their own revenge on any successful conspirators, sinking the teeth of their ballots into the fleshy political careers of those who would gainsay the nation’s leader in a time of crisis.

Julius Caesar, at the Theater at Monmouth through August 22, is the most politically insightful play performed on Maine stages this summer, and it is brilliantly done.

(Enough about the distance. Monmouth is less than 90 minutes from Portland. You’d drive further to a Boston theater. Save time, see great theater, keep the money in Maine. It’s not that far. Really.)

In brand-new seats in the theater’s beautifully ornate surroundings, the trappings of power never seemed so real. This group of professional actors, most handling more than one role in the four plays TAM has running simultaneously, truly understand Shakespeare, his language and his characters.

The street scenes hearken directly back to the days of the Globe Theater, which it is believed opened for the first time with this show in 1599. Plebians among the audience look up at the aristocrats, catcalling and conferring among themselves. This is the raucous populism that made Shakespeare famous in his own time.

Julius Caesar himself (Mark S. Cartier) is excellent as the publicly adored citizen-king, who humbly refuses the crown thrice and arrogantly throws off the warning of a soothsayer (Jonathan Miller) to "beware the ides of March."

Cassius (Joshua Scharback) is also a victim of hubris — a particularly virulent sort — infecting as it does Brutus (Paul L. Coffey) and the rest of the conspirators.

The lessons of how power works are legion in this play. Brutus is vital to the plot because he can get close to Caesar, yet numbers are important for safety. The manipulation of information is clear, as is the flouting of substantive warnings. It all sounds painfully similar to the newspaper headlines, and yet these words are 400 years old.

Brutus issues a warning Bush and his cronies should heed: "The abuse of greatness is when it disjoins remorse from power."

All of the ensemble cast are top-notch, from Portia’s (Adele Bruni) impassioned wifely plea for her husband’s trust to the dream reinterpretation by Decius Brutus (Dennis A. Price). The staging is courageous, adding tableaux where Shakespeare had none, Caesar’s ghost watching the slaughter that follows his death.

The music (some taken from the Gladiator soundtrack), sound effects, and lighting all combine in a full, rich atmosphere that keeps the play moving and its central tensions close about the audience. Violin notes, as in Eyes Wide Shut, up the blood pressure, as sinister words disturb the miasmic air. Lighting illuminates the harshness and desperation. With the cherubim watching from the ceiling, the suspension of disbelief is complete.

Brutus and Cassius play well off each other, and Coffey, playing Brutus, remains in command of his character’s complex mind, switching immediately from the Quisling murderer to a man who can say with only a touch of comic irony, "Publius, good cheer," as a senator cringes in fright.

It is then that Mark Antony (Jeffrey Thomas) comes into his own with grand eloquence and great emotion. Thomas handles triumphantly the most famous speech of the play, his eulogy of Caesar, not just a tribute to a fallen leader but a call to arms. Ripe with scorn and sarcasm, his voice literally dripping with contempt, it is as if Thomas himself will go backstage and bring forth actor Coffey, out of costume and pleading for mercy.

Yet Antony’s motives are not without impure effect. The slaughter that begins as the factions split and mobs roam the streets is, in part, his doing, too. Caesar’s spirit’s most frightening act occurs when the mob seizes a poet who shares a name with a conspirator. Cinna the poet is beaten and carried off, echoing the fates of people like management consultant Asif Iqbal of Rochester, New York. His crime? He shares a name with a suspected Al Qaeda member now held prisoner at Guantanamo Bay. The innocent young professional finds himself now on a government terrorism watch list.

Julius Caesar
Written by William Shakespeare. Directed by David Greenham. With Mark S. Cartier, Paul L. Coffey, Joshua Scharback, and Sally Wood. At the Theater at Monmouth, through Aug. 22. Call (207) 933-9999.

BACKSTAGE

• Check out Maine’s Civil War history on stage with Frank Wicks’ Soldier, Come Home at Brunswick’s First Parish Church, Friday, August 8, at 7:30 p.m. It’s based on letters between Wicks’s great-grandparents, Philip and Mary Pringle, as Philip fought with the Union Army. To reserve the $10 tickets, call (207) 729-6606.

• A reprise of The Food Chain by Nicky Silver raised some good cash toward better seating at the PSC Studio Theater, but they could still use more, so open your wallets or pay with your behinds.

Donations sought for beach wheelchair

Published in the Current and the American Journal

The story of a dutiful son whose car got stuck in the sand on Willard Beach while he was trying to help his mother get into the water has spurred city councilors to ask for donations to help the city buy a beach wheelchair.

William Scully of Beatrice, Neb., whose mother lives in the area, wrote to Dana Anderson, director of parks and recreation, on June 25, to tell his unusual tale and propose a solution to the problem. On a Sunday morning in early June, Scully wrote, he took his mother to Willard Beach to go swimming.

His mother, 85, has arthritis that makes it hard to walk. “It takes her a long time to get to the water’s edge,” Scully wrote. “So in a moment of lunacy I decided to drive the old Volvo onto the beach close to the water.”

His mother safely out and swimming happily, Scully found the car was stuck up to its axles. A tow truck he called also got stuck, and a second tow truck arrived to help.

“With the help of about 20 people digging and a wide-tire F 150 Ford pickup” the car was freed, but Scully doesn’t want to have to do that again.

In the intervening weeks, he has tried to think of a solution, and rather than build an expensive boardwalk for regular wheelchair access, he found a web site, www.beachwheelchair.com, selling a balloon-tire wheelchair made especially for beach use, able to stand up to salt water and sand.

They weigh about 40 pounds and will be used to get disabled people to and from the beach, rather than having one person use it all day, said Tim Gato, aquatics coordinator for the city.

Gato is looking at two models, which will cost between $2,000 and $2,500 delivered. Scully has donated $1,000. He hopes a chair can get here before summer’s end, but if not expects it will be here in plenty of time for next summer.

Councilor Linda Boudreau read Scully’s letter aloud at last week’s council meeting and asked the public for help raising the remainder of the money needed.

“We will essentially be providing handicap access to Willard Beach,” said City Manager Jeff Jordan.

To tell the truth: Opening eyes and hearts

Published in the Portland Phoenix

Tessy Seward and Caitlin Shetterly don’t want to entertain people with the theatrical performances they produce. Instead, they are returning art to its roots, of disturbing, informing, and creating social change.

"We want people to see things that will move them in a fundamental way," says Seward. Their new venture, Winter Harbor Theater Company, has put on two brief runs of the first act of Tony Kushner’s still-unfinished play, Only We Who Guard the Mystery Shall Be Unhappy. Their last showing of this work will be at the St. Lawrence July 30 and 31. It is a powerful show, brilliantly performed.

But it is not Little Me, or Hedwig, or any of the other shows recently found at the St. Lawrence. Only We has a harsher worldview than even the Cast’s festival, delivering a political and humanitarian message while still exploring the inner workings of the human mind.

In it, an angel (Stephen McLaughlin) welcomes first lady Laura Bush (Tavia Lin Gilbert) to one of Mrs. Bush’s most common photo-ops, a reading to a group of schoolchildren.

But these kids are Iraqi children killed by American bombs in the 12 years since the end of Gulf War I. The angel gently flays Laura’s confidence in her husband’s rhetoric, revealing a human heart beneath her loyal chest.

It is powerfully eloquent, and even "changed" Seward’s dad, a marine-hardware store owner in Hancock County and Vietnam veteran nervous about the political bent of his daughter’s new venture.

Shetterly and Seward, neither yet 30, speak with a youthful idealism, tempered by practicality and pain: Winter Harbor was formed in the cab of a U-Haul truck heading from Maine to New York, to retrieve Shetterly’s worldly belongings at the end of a broken relationship in a broken, post-9/11 New York.

The two, best friends in nursery school who hadn’t seen each other in 21 years, quickly forged a commitment to speaking out. Shetterly, daughter of painter Robert, wanted to respond to the constant US bombing of Iraq, even before war broke out. Only We fit the bill.

Seward wants to be "a force for creating some positive change." She wants audiences to leave the theater and "see the world with new eyes," hoping they undergo "an emotional transformation" and become more compassionate.

There is also a hard line: "A time like this calls for drastic measures. It calls for courage and truth-telling," Shetterly says. Their productions will "get people to that vulnerable place where you’re so alive and open emotionally," that life literally flows through your veins, and perhaps your tear ducts.

Seward admits people may turn away before they even get in the door: "It’s the risk of absolutely transforming their life that’s terrifying." She believes something about theater, about being together in a space both public and private, "makes it okay to feel more than you might feel if you were alone."

There are economic challenges involved in this work, but Shetterly points to the success of controversial playwright Langford Wilson. Grants are in the works and a board is forming.

Tough pieces addressing sensitive issues may turn off donors, but they say they won’t sell out. "We’re going to do something that challenges people," Shetterly says. "We refuse to have anybody tell us how to do our thing."

They are starting slowly but steadily, planning a short run of one show in October, and a full run of another next spring. August 7, will see Cosy Sheridan’s one-woman show The Pomegranate Seed at the St. Lawrence for one night only. Addressing appetite, body image, and myth in modern culture, Sheridan tells her own story of learning compassion.

Seward and Shetterly saw it not long ago, and were both in tears for much of the performance, opening themselves the way they want others to open during their productions. Any trepidation the pair have is masked by an iron determination. Echoing her painter father’s message, Shetterly is adamant about one thing in particular: "I will tell the truth."

Only We Who Guard the Mystery Shall Be Unhappy
By Tony Kushner, with Tavia Lin Gilbert and Stephen McLaughlin. Shows at 8 p.m., July 30 and 31, at the St. Lawrence Arts Center. Free. Arrive early and see painter Robert Shetterly’s Portraits of Americans Who Tell The Truth. Call (207) 775-3174.
The Pomegranate Seed
Written and performed by Cosy Sheridan, at 7:30 p.m., Aug. 7, at the St. Lawrence Arts Center. $10. Call (207) 775-3174.

BACKSTAGE

• Michael J. Tobin has done it again. In a move he says has " guaranteed a secure future " for the five-month-old Cocheco Stage Company, he has closed its Dover, NH, home and will perform on various local stages, though with what is unclear. (Deathtrap had two last-minute cast changes, and was canceled in the middle of tech week. A reprise of Players Ring hit Gender Bender, slated to open July 25, won’t be happening either.) He initially blamed the closing on the landlord, but now says he’s choosing to avoid the responsibility of a permanent lease. It’s happened before: In the mid-1990s, Tobin opened and quickly closed the Portsmouth Playhouse, leaving bills unpaid. (He chalks it up to being " young and business-stupid. " ) A second try was the late-1990s MainePlay Productions in Portland. After moving locations because he wouldn’t up ticket prices to cover a rent increase, Tobin eventually left, claiming there was no arts support in Portland.

Fuel trucks kept out of Red Bank

Published in the Current and the American Journal

The South Portland City Council ruled Monday that the Portland International Jetport may expand, but may not truck fuel through the Red Bank neighborhood to get to a planned storage site.

The jetport’s proposal is to relocate private planes based at the jetport from one side of the main runway to the other, offering them space for hangar storage and opening more room for storage of planes only visiting the jetport for short periods.

Presently the roughly 60 private aircraft based at the jetport are parked on a paved area on the north side of the main airport buildings, according to Jeff Monroe, transportation director for the city of Portland. That location is also where visiting planes park, and it’s running out of room.

“We get a lot of people flying in over the summer,” Monroe said. As many as 30 to 40 planes a week are brought in by people who either own or rent vacation homes in Maine, he said.

The jetport wants to use a portion of a 70-acre parcel between the Red Bank neighborhood and the Fore River to allow plane owners to build hangars for indoor aircraft storage. As part of that complex, there would be at least three above-ground fuel tanks holding a total of 60,000 gallons of aviation gas and jet fuel.

To supply the tanks, the jetport had asked for permission to drive small fuel trucks along Western Avenue and Westbrook Street to get to the new area, at least until the planned Jetport Plaza Road is complete.

If that road is not complete by the time the complex is in use, the jetport argued, the only alternative would be to truck fuel across the airport’s main runway.

District Five Councilor Jim Hughes, who represents the area including the jetport and the Red Bank neighborhood, was worried about putting fuel trucks through a densely populated area and successfully lobbied his fellow councilors to limit fuel trucks to the Jetport Plaza Road.

While a timetable for the road’s completion is unclear – it is now just a short spur leading to the parking lot near the Staples store – councilors were confident that the road would be complete before the jetport space was ready. Hughes said the restriction would virtually ensure the road was built in time.

Mayor and District Three Councilor Ralph Baxter said his “worst-case scenario” was trucking fuel across the main runway.

Councilor-at-large Linda Boudreau was also worried about the dangers that could pose, mixing fast-moving aircraft with fuel trucks.

Hughes argued that limiting fuel trucks puts pressure on Portland, which must grant an easement for Jetport Plaza Road before it can be built. He said the restriction would not only improve safety but would bring the political interests of the two cities into alignment to get the road built.

District Two Councilor Thomas Maietta suggested that if the road was not complete, the private planes could taxi from the new space back to the present fueling point, keeping fuel out of the neighborhood and preserving airport safety.

In other airport business, Boudreau also noted that the next meeting of the jetport noise advisory group will be held Sept. 24. A report will be issued before that, and the meeting will discuss the report, she said.

Looking for the whole: Or was it the hole?

Published in the Portland Phoenix

Two souls, split by the gods centuries ago, must find each other to again become one. In Hedwig and the Angry Inch, one of those souls must search through himself, then herself, and ultimately in both to find peace.

Braden Chapman (producer, director, and actor playing Hedwig) and the cast and crew have transformed the ex-parish hall theater of the St. Lawrence into a rock-concert stadium, complete with video projection, two televisions, strobe lights, and a proscenium stage allowing direct contact with the audience. Two members of the crew sit in the front row, cheering and screaming to make the concert illusion more real.

The story is hilariously poignant, about a German boy, Hansel, whose mother flees to East Berlin as the wall goes up, raising him to believe that being powerless is better than being corrupted by power. Hansel seeks his soulmate and finds an American soldier who makes Hansel get a sex change before marriage, Oedipally taking his mother’s name and becoming Hedwig. After moving to America and divorcing, Hedwig becomes a rock star, and takes under her wing a spoiled, super-religious boy who rises to surpass Hedwig in stardom.

This show, a hit musical and movie worldwide, was adapted for Portland audiences, including a dig at Phoenix editor Sam Pfeifle’s music taste and a nod to the constant presence of Bobby Lipps, the St. Lawrence’s "best friend."

A reference to Hedwig’s attorney brings up — you guessed it — Joe Bornstein, including the jarring chord that always follows that name in the TV ads. Portland police chief Mike Chitwood also takes a hit, as Hedwig asks, "Are there no fascists in the audience?" Finding no audience support, she says, "I am sure I saw your police chief out there somewhere."

Chapman carries the show and even added a number of in-character ad-lib sections on opening night. When he slammed a door so hard the exit sign above it fell down, he immediately seized the opportunity to pitch the St. Lawrence’s fund-raising campaign: "They need your money, folks! It’s falling apart!" A German transsexual rocker with that kind of presence-of-mind would be invaluable on the St. Lawrence capital campaign.

And then, realizing that a missing exit sign violated the fire code, Chapman gave a brief safety lecture: "Two lights means ‘exit.’ "

Sadly, and perhaps as a result of on-stage audio monitor problems (the subject of yet another ad-lib) Chapman’s singing is almost completely drowned out by the musicians — particularly drummer Ryan Gill — who pound out their songs like any self-respecting punk band should. After a check of the lyrics online, it is clear my sneaking suspicion was true: Major plot events and character development occur in the songs.

This means the audience must wait through the music, knowing something is missing, and try to catch up when Hedwig speaks again. Perhaps this adaptation, which Chapman has so clearly immersed himself in and made his own, would have been even better if it was "unplugged" in the MTV style.

It is an unapologetic production from its opening words: "Ladies and gentlemen, whether you like it or not — Hedwig!" And as such, it does well, with hilarious costumes (recreated by the costume designer for the show’s 1998 New York debut), outrageous dancing, and thought-provoking questions like "Can two people actually become one, and if it happens on the Autobahn, can we still use the diamond lane?"

The audience is truly a part of this show, as at any rock concert. Chapman startles several people with brief, seated "cameos." He is outrageous and dynamic, making even the act of putting a microphone back on its stand sexual. And he carries off a key moment powerfully, when Hedwig smashes herself with tomatoes (under her shirt as fake breasts), marking herself with a scarlet symbol of betrayal.

As much as Chapman dominates, there is a character who acts as the foil for all of Hedwig’s plans. The barely recognizable Lynne McGhee (in long black wig, with a goatee), plays the Serbian Jew transvestite Yitzak, Hedwig’s second husband, who sings a bitter song of betrayal with sarcasm and power, and generally adds to the amusing mayhem on stage.

Hedwig and the Angry Inch
Written by John Cameron Mitchell. Music and lyrics by Stephen Trask. Directed by Braden Chapman. With Braden Chapman and Lynne McGhee. By the Glitterati Theatre Company, at the St. Lawrence Arts Center, Portland, through Aug. 3. Call (207) 775-5568.

BACKSTAGE

• Nothing hurts more than abandonment, so shame on Michael Howard, director of Macbeth by the Stage at Spring Point, for not even showing up the day after the Phoenix panned the show. Was he crying in his beer or looking for a new job? If that’s how he treats his actors, cut him off from both.

• The Food Chain, a farce about society’s idea of beauty, is back at Portland Stage’s Studio Theater from July 25 through July 27, at 8 p.m. Tickets are pay-what-you-can ($15 suggested). Proceeds will improve the Studio Theater space, including comfier seats! The show’s September run was among the Phoenix’s most memorable theatrical moments of 2002.

• The Camden Civic Theatre is accepting play and musical submissions from directors for its 2004 season. For more information, call Ron Hawkes at (207) 239-2092. Deadline is August 8.

Coke bust near S.P. school

Published in the Current and the American Journal

Two 25-year-olds were arrested July 9 on charges of trafficking in cocaine in a home at 566 Ocean Street, just a few doors away from the Hamlin School in South Portland.

A search of the house resulted in the seizure of three handguns, two rifles, a shotgun, several magazines and rounds of ammunition, $8,100 in cash, two scales, seven drug-packaging plastic bags, three tablets of OxyContin “packaged for resale,” methadone and a crack pipe.

The house is “well within the 1,000 feet” drug-free school zone required by state law, said Scott Pelletier, a supervising special agent with the Maine Drug Enforcement Agency, which conducted a search at the home and arrested the two people living there.

Mark Morin and Cheryl Gallant were arrested and have been charged with felony aggravated trafficking in cocaine-related drugs. Both have posted bail. Their cases will go before a Cumberland County Grand Jury next month, Pelletier said.

Morin and Gallant had left the home as MDEA agents and South Portland police were preparing to enter the home, just before 9:30 p.m., July 9. The pair was driving away in Morin’s Chevrolet Suburban when the vehicle was stopped. They were each found in possession of “an amount of crack cocaine.”

The warrant was served shortly thereafter. Agents had made special arrangements for entering the home unannounced, as they were expecting children to be in the home. “There are children there routinely,” Pelletier said.

There were none, and the kids are now “with their mothers,” Pelletier said.

In late May, an anonymous informant told South Portland Detective Steven Webster, assigned to the MDEA, that Morin was “selling cocaine base in the Greater Portland area,” according to the search warrant filed in Portland District Court.

The informant told him Morin “was known to move frequently” and usually carried a handgun when making drug deals.

On July 2, a second informant told Webster Morin was “selling in excess of one ounce of cocaine base per day” and was also “trading cocaine base for guns.”

The source, who said Morin had recently gotten three friends addicted to cocaine, also told Webster that Morin had an “extremely vicious” pit bull.

It was so vicious, in fact, that a South Portland police officer, investigating an unrelated July 4 complaint that the pit bull had attacked someone, had to shoot at the dog to turn away an attack himself. The shot missed, and the dog was unhurt.

On July 9, the day of residential trash collection in the neighborhood, police searched the trash from 566 Ocean Street and found 11 filters “used when smoking cocaine base or crack cocaine,” 10 plastic bags “commonly used for packaging drugs for sale,” four sandwich bags “that appeared to have cocaine residue” and one of which tested positive for cocaine in a field test, two used hypodermic needles and a plastic crack pipe, according to court documents.

Webster then applied for a search warrant allowing unannounced entry during nighttime hours because, the warrant states, cocaine evidence could be destroyed if the entry was announced, and because of fear Morin “may use deadly or non-deadly force in resistance.”

Guimond appointed new S.P. fire chief

Published in the Current and the American Journal

Kevin Guimond of Cape Elizabeth, a 16-year veteran of the South Portland Fire Department, is the new South Portland fire chief, replacing John True Jr., who retired in April after 10 years in the top slot and 35 years in firefighting.

Deputy Chief Miles Haskell has been acting chief in the interim and will continue as deputy chief. City Manager Jeff Jordan said 11 people applied for the job, mostly from Greater Portland, with “a handful” from within the South Portland Fire Department.

One of those was Westbrook Fire Chief Gary Littlefield, who told this newspaper he had interviewed for the job.

Jordan called Guimond, 36, who up until now was a lieutenant with the department, “a real bright guy” with a lot of experience. He is a paramedic level instructor who “has really been a part of a lot of major decisions” in the department, including the West End Fire Station committee and the decision to consolidate fire and police dispatching, Jordan said.

Guimond found out about his new job Friday afternoon and was “excited” about the decision. He wants to “continue the path we’re on,” with cross training to give firefighters other skills, including emergency medicine and hazardous materials handling.

He said he is interested in the department’s conversation about sharing services with Cape Elizabeth, but “it’s got to be the right fit.”

“Our call companies are running really well,” Guimond said. One way to improve them could be to share staff. “Neither community has enough call staff,” he said.

Guimond, who also is a part-time paramedic with the Cape Elizabeth Rescue, could be a good candidate to bridge any gaps between the departments, which already share an extensive mutual-aid agreement.

He will “take a little break” from his work in Cape Elizabeth to focus on his new job, but hopes to be able to be involved there.

Lightning strikes: Energetic performances Grease Arundel Barn's wheels

Published in the Portland Phoenix

Starting with a back-flipping entrance by Danny Zuko (Brad Bass), Grease is off to a dynamic run at the Arundel Barn Playhouse. The cast clearly has fun, and the excitement is contagious as cast and audience together relive senior year at Rydell High.

The show revisits the days when kids could make zip guns in school, restroom machines sold four condoms for a quarter, and enlisting in the military didn’t qualify you for welfare. This is a ’50s piece, and there is a desire to remain true to the original, but given the number of young children in the audience, having characters even fake smoking seems questionable.

It is a fun play about life in high school, with some important lessons for those who wish to hear: Peer pressure is compelling, being true to yourself is better than being a tease, ridicule hurts, and dropping out of school is a bad idea.

Perhaps, though, the biggest lesson of an adult production of Grease are the contrasts between it and the more common high-school performances based on the same script. Miss Lynch (Mary Jo Keffer) is an excellent tipsy teacher, raising a glass each time she appears on stage. DJ Vince Fontaine (Jim Appleby) is a leering and lecherous older man, who makes out at the prom just like any of the students. Appleby also plays the Teen Angel, who delivers a stern and dark lecture for wayward youth.

And an entire song is restored from the original, one usually not seen in high school: Roger (Daniel Petrotta) sings the hilarious love ballad " Mooning, " which is either about staring at the evening sky or showing off young bare bottoms in public.

It is in " Mooning " and many of the other songs that the choreography really shows what Grease is about. There is flirty touching and peeking, as well as strong grinding and suggestive body language no principal would permit in the auditorium.

The girls, led by Ellen Domingos (as Betty Rizzo) and Kendra Doyle (as Sandy Dumbrowski), dance and sing their hearts out. The Burger Palace Boys dance, too, in a macho style that at times includes push-ups. Ryland Shelton (as Sonny) is the smoothest mover, but Bass (as Danny) is the star of these dance numbers, performing Elvis moves and a twisting round-off across the entire stage.

On opening night Bass literally danced his pants off at the prom, splitting the crotch of his trousers from stem to stern in a display that cracked up the entire cast as well as the audience. Admirably, the cast covered the situation while remaining in character, and had the presence of mind to let the moment ride, stopping the show as everyone — Bass included — collapsed laughing.

Petrotta (as Roger) retained the composure to ad-lib as the scene ended: Dancing with his sweetheart and " making conversation " the way awkward teens will, he said, " I split my pants one time, but not in front of an audience. "

It is truly a musical, with good harmony and a great three-piece band including two local students, Asher Platts from USM and Michael Whiston from Kennebunk High School. In a theater with no amplification, they made music that was easy to hear but did not overpower the singing, except when the singers’ voices themselves were especially weak (most notably Douglas Ullman Jr. as Doody, who just plain could not be heard). Again Bass stole the show with an excellent range and strong voice that conveyed those most high school of emotions: angst, unrequited love, and hope.

It is also a play, however, with character development and spoken performances throughout. A choice to have simultaneous and separate scenes from time to time showed the distance — despite interrelations — between the characters, and putting Miss Lynch and Vince Fontaine on as side shows during scene changes kept the action moving well.

The set was also cleverly simple yet versatile, going from high-school auditorium stage to playground to cafeteria and then the larger-than-life car, Greased Lightning.

In one sense, it is easy to play to a stereotype, but clearly these actors take their work seriously. Most are based in New York and were cast during auditions there. It is the sign of an excellent director that the actors have fun on stage, and enjoy the disco ball as much as the audience.

Grease
Written by Jim Jacobs and Warren Casey. Directed and choreographed by Robert Jay Cronin. With Brad Bass and Kendra Doyle. At the Arundel Barn Playhouse, in Arundel, through July 19. Call (207) 985-5552.

BACKSTAGE

• What’s better than an outdoor performance of Hair? One at a field named for the Hindu word meaning " I salute your inner spirit. " Peace and Love Productions is putting on the show at Namaste Field in Acton, each weekend from July 12 through August 10. Profits support charities Peace Action Maine and MoveOn.org. Call (207) 490-1210. (Leave the kids home: Hair contains nudity, strong language, and unkempt manes.)

• Generic Theater opens the Players’ Ring’s summer late-night series July 11 through 13. These shows are late — starting at 10:30 p.m. Friday and Saturday, and Sunday at 9:30 p.m. One play is Skillful Maneuvers by Dover native Mark Towle, following a detective examining a tornado-wrecked crime scene. A monologue, written and performed by Portsmouth’s Roland Goodbody, looks back 30 years at a chance encounter with a Woman on a Train.

Voters will decide GAN

Published in the American Journal

A Scarborough-wide petition drive has gathered enough signatures to force a referendum vote on the Great American Neighborhood contract zone passed June 19 by the Town Council.

The election is expected to be set for July 29, though the formal scheduling will not occur until the July 16 council meeting, which will also include a public hearing on the 397-unit, cluster housing project in Dunstan.

Because of the high school construction, polls will be at Wentworth Intermediate School.

Those opposed to the project, calling themselves NoGAN, needed to get 2,014 signatures of registered voters on a petition requesting a referendum on the project, now called Dunstan Crossing. The deadline was July 9, but things went very quickly.

“We had 2,400 (signatures) in the first six days,” said organizer Deb Greenwich. Knowing that some would be invalidated because the signers were not registered Scarborough voters, organizers kept the drive going, and turned in a total of 3,370 signatures as of the American Journal’s deadline. More were expected.

Town Clerk Yolande Justice and her staff validated only the minimum number, confirming Tuesday afternoon that there were enough.

“We’ve really pulled the town people together,” said organizer Lisa Douglas. “We like our town being a town and don’t want it to be a miniurban area.”

To make the referendum valid, 2,014 voters must turn out to actually vote. To that end, Douglas, Greenwich and others will be calling people who signed the petition, to remind them of the date and location of the election.

A“yes” vote on the ballot question upholds the council’s decision to allow the project, and a “no” vote overturns it.

GAN Developer Elliott Chamberlain said Tuesday, “I’m not totally shocked,” about the number of signatures gathered, but added he doesn’t think that every signature represents a “no” vote.

Asked how he was going to respond to the referendum, Chamberlain said, “I don’t really have any defined plans. I’ve never been through this process.”

Justice is already seeking election clerks to work July 29, expecting the election to be scheduled for that date.

The large “vote here” banner normally hanging over Gorham Road outside the high school on voting days will be hung up at the tennis courts near the entrance to Wentworth, to remind passers-by that voting is going on.

Hard to defend: The arboretum do come to Battery Rivardi

Published in the Portland Phoenix

Outdoor theater has returned to Greater Portland, but with a puff of smoke rather than the hoped-for bang. The reuse of the area’s coastal forts, little used in times of war, as a theatrical venue is fascinating and full of incredible potential but in the Stage’s performance of Macbeth, the absent guns fired mostly blanks.

No doubt John Jacob Ulrich Rivardi, a coastal-defense engineer for George Washington, would be stunned to see the changes to the 1900-era gun emplacement bearing his name. The gun mount is now a stage, with the surrounding earthen embankments as wings from which characters can majestically enter, and, after exiting, go downslope to be hidden from view.

Instead of being blacked out to avoid being spotted from offshore, the show’s lights shine brightly above a spare set with new features added seamlessly to the concrete. Sadly, either the lights are badly aimed or the actors just plain miss their marks; several scenes’ lighting cuts off heads, feet, and even whole people.

On-stage and off-stage spaces are used cleverly, though "the wings" could use a bit more concealment: A chance glance to one side gave this reviewer a glimpse of a topless Lady Macbeth mid-costume change.

Some details are clearly well thought-out, including techno-urban costumes to fit the concrete and the clever use of gun tie-down points as musical instruments. Others hurt the performance, like the director’s quixotic choice to have several actors continually speak away from the audience.

The weakest element, however, is Seth Rigoletti, playing Macbeth. This was his vision, and should have been his to direct. Instead he has forced his director, Michael Howard, to either criticize the boss (Rigoletti is the Stage’s executive director) or shut up and run a substandard show.

Ironically the energetic young activist/actor does not "get" Macbeth, a power-hungry up-and-coming noble who treacherously elevates himself to the throne, where he becomes a jealous murdering despot.

Instead, Rigoletti plays an effete, frivolous king. His delivery, unlike most of the others’, is too fast and toneless. Shakespeare’s words are difficult for modern ears and minds. They need help from inflection, and get none from the lead actor. Picture Saddam Hussein delivering the following line: "False face doth hide what false heart doth know." Now imagine Rowan Atkinson as Mr. Bean. The first is Macbeth, the latter, Rigoletti as Macbeth.

Lady Macbeth (Miranda Hope) is far hungrier and greedier, a dark, strong character underlying and supporting her husband’s tyrannical ways. Yet her ardor seems almost comical faced with a mincing Macbeth.

The castle porter (Chris Holt) manages to reclaim some of the bawdy nature of Shakespeare, playing to the audience with a brief appearance that gets no help from the rough and at times wooden attempts of others of the supporting cast.

Not all should be tarred with this brush, however. Tony Correla (as Banquo) and Paul Drinan (as Macduff), along with Hope, are the strongest actors in this performance. Correla should have had the lead, to counter Drinan’s powerful portrayal of the anguished loyal general. Perhaps Denver Whisman (the menacing Seyton) would have been a good choice in a larger role.

And the sisters, as they are termed in this production though normally known as "the witches," are excellent and well used. Played by Deborah O’Connor, Elizabeth Enck, and Reba Short, they are allowed to have their cauldron and ceremonies in dead center stage, in the same place where Macbeth later hosts his friends. This effect is a vast improvement over other productions, which force them to make camp on the side stage.

As the play darkens, so does the sky. And down come the real pestilence: mosquitoes. Things were so bad during the first few shows that now the City of South Portland is spraying during the day. There is also spraying just before the show and at intermission, and tons of bug dope on hand for the asking. (Of course, all of these airborne chemicals may somewhat dim the feeling of a "fresh air" performance.)

From the outset, the production struggles with its bigness. The script (five acts, 28 scenes), the cast (near 30 without extras), the ideas (violence and vengeance cycling bloodily) — all are tough for any theater company, much less a brand-new one trying to make a splash. The Tempest might have been a better starting point, for its context and manageability. The most ringing critique is Shakespeare’s own, of life as "a tale told by an idiot, full of sound and fury, signifying nothing."

Macbeth
Written by William Shakespeare. Directed by Michael Howard. With Seth Rigoletti, Miranda Hope, Tony Correla, and Paul Drinan. At the Stage at Spring Point, in South Portland, through July 12. Call (207) 828-0128.

BACKSTAGE

• Acadia Repertory Theatre has hung out its barn-board sign. Now through July 13 is Proof, the Pulitzer Prize-winning play by David Auburn, which looks at a family’s relationships as they dance along the line between madness and genius. The Public Theatre had a great run of it last year, and the play will also be at Lakewood and Portland Stage before 2003 is done.

• Generic Theater will continue its explorations of new works with a public reading of The Gardens of Frau Hess, the first play by Milton Frederick Marcus, at Kittery’s Rice Public Library July 8 at 7 p.m. It looks at the relationship between the wife of Nazi honcho Rudolf Hess and her concentration-camp-inmate gardener.

Towns agree to force haulers to use RWS

Published in the Current and the American Journal; co-written with Josh Williamson

Area communities have begun following Portland’s lead in requiring private waste haulers to agree, in binding contracts, to bring the waste they collect to Regional Waste Systems, a move even proponents consider just a temporary fix for the incinerator’s budget woes.

Since Portland first hammered out the contract model earlier this spring, Gorham, Windham and South Portland have each adopted nearly identical ordinances and contract requirements in recent weeks. Gorham and Windham officials teamed together when negotiating with hauling companies over the past three weeks and are requiring identical contracts in order for haulers to get permits in those communities.

“We have to give a lot of credit to Portland in this,” said Windham Town Manager Tony Plante. “They put a lot of work and time into this, and we just had to tweak it a little bit to fit our specific situations.”

The ordinance is in response to a decision by RWS to cover a budget shortfall by charging member towns fees if they don’t deliver set amounts of trash to RWS’ incinerator each year. Rather than pass the fees along to residents, the communities have chosen to force haulers to go to RWS, which is more expensive than nearby competitors.

The Maine Energy Recovery Company in Biddeford charges roughly $78 per ton, compared to $88 at RWS, and there is a facility in Auburn that charges $55 per ton.

In South Portland, the majority of both haulers and city councilors agreed to the measure, but called it an imperfect and short-term solution they were not truly comfortable with.

“We see this as a temporary measure for the next couple of years,” City Manager Jeffrey Jordan told councilors before they approved the ordinance. In 2005 RWS may be able to refinance some of its debt and improve its financial situation, Jordan said. The city’s proposal fills “a two-year gap to buy us time to plan for the future of RWS,” he said.

Jordan said most haulers will sign the agreement. Filomena Troiano, owner of Troiano Waste Services, told the council she would do so because “this is just short-term.”

“I still don’t believe it’s right” for the council to tell haulers where to take their trash, she said. She is also “a little skeptical” about RWS’ ability to become competitive, she said.

South Portland councilors expressed dissatisfaction with the situation, but said it would start to address the issue. Councilor-at-large Robert Fickett opposed the ordinance in the vote, saying it was unconstitutionally imposing flow control.

John Papi, owner of Pine State Disposal, told councilors he would not sign such an agreement. “I don’t think it’s a fair deal,” he said. “It’s flow control. It’s unconstitutional.”

In an interview, Papi complained that each town was charging fees for haulers, and simultaneously requiring them to pay more to dump trash. Gorham charges $1,400, Portland $500 and Standish $200 for hauling permits, he said.

Papi questioned the ability of city officials to enforce the ordinance. “Are they going to follow everyone around at 3 o’clock in the morning?” he asked. He said many people ignore city ordinances, including leash laws and pooper-scooper regulations.

“What are they going to do – put me in jail for picking up trash?” Papi asked.

In Windham, however, enforcing the ordinance and making sure haulers have permits and are taking their trash to RWS will become a priority for police and other officials, Plante warned.

“This does put the obligation on the communities to enforce the rules,” Plante said. “Let this be a message. If there are haulers doing business without licenses, we are going to find them and enforce the ordinance.”

Gorham Town Manager David Cole, who along with Plante met with haulers two weeks ago, said it was an advantage to both the towns and the haulers for the two communities to present a united front in negotiations. He said it saved the haulers the time of meeting twice over the same proposal, and gave the towns a little leverage.

Both the Windham and Gorham town councils have begun approving the identical contracts with each hauler individually. The Gorham Council had authorized Cole to look into creating a “franchise” system, where the town would reach a contract with just one hauling company to pick up all the trash, putting the contract out to bid among the haulers. The haulers’ willingness to sign the contracts made this unnecessary, however, he said.

“If we have haulers who are willing to be cooperative, then this will solve the problems, and solve it more quickly than the franchise option,” Cole said. “I think if we end up going the route of franchising, it effectively limits our options in the future. It’s awfully hard to go back and try a different route once you franchise.”

Gorman gets 60 years as victim’s father sentences him to hell

Published in the Current and the American Journal

Jeffrey “Russ” Gorman, 23, who lived in Scarborough and spent time working and socializing in Westbrook, was sentenced Monday to 60 years in prison for murdering Amy St. Laurent after a night of dancing and drinking in the Old Port Oct. 21, 2001.

His attorney plans to appeal the conviction and the sentence on grounds that the judge allowed inadmissible material to become evidence at trial.

The prosecution had asked for a life sentence – or 65 years at a minimum – on the basis of Gorman’s “anti-social personality,” lack of remorse and a psychological evaluation placing him “at significant risk to reoffend,” according to Assistant Attorney General Fernand LaRochelle.

Gorman’s attorney, Clifford Strike, had requested a 38-year sentence, arguing that despite the psychological evaluation, “this is a person who is capable of making gains.” Strike blamed much of the situation on Gorman’s difficult upbringing.

Before Justice Nancy Mills handed down the sentence, St. Laurent’s family spoke to the court. Her father, Dennis St. Laurent, threatened Gorman. “If you ever come out from behind those walls, I’ll send you to hell myself,” he said. St. Laurent asked for the death sentence – not a possibility in Maine.

Amy’s sister Julie, through tears, told of her anguish at how close she was to Amy in her sister’s time of need. The night Amy disappeared, Julie was “around the corner in the Old Port.” And for seven weeks while the family searched for Amy’s body, Julie drove County Road from Gorham to Portland – past the shallow grave where Amy was buried – multiple times a day. “She was right there the whole time,” Julie said.

Amy’s mother, Diane Jenkins, spoke eloquently of her older daughter, showing photos and telling stories of ways Amy helped friends in need. Thinking of Amy’s last moments, “the fear, pain and horror,” Jenkins said, “invades my thoughts, wakes my sleep and breaks my heart.”

Asking for a tough sentence, she told Mills, “please show him the compassion that he showed my daughter when he put a gun to the back of her head and pulled the trigger.”

Clutching a framed picture of Amy, Jenkins turned to face Gorman and said, “this is my daughter. And this is now how I get to hold my daughter.”

Gorman’s mother, Tammy Westbrook, spoke as well. In a disjointed plea for clemency, she told Mills her son is a good man. “He is not evil. He is not a monster.” And while she said she felt bad for the St. Laurent family, “no one ever thinks about being in my shoes.”

Gorman then sent Strike over to ask Westbrook to stop. When she would not, Gorman spoke up. “Just sit down, mom,” he said. She refused, turning the podium over to her daughter, Gorman’s sister Brittany, who professed her brother’s innocence and told the St. Laurent family, “I know that you guys are unhappy too and I’m really sorry.”

Mills then spoke to explain her sentence. “I expect that no one in the courtroom will be pleased with what I do,” she said. “I do not consider this to be a life sentence case.”

Mills concluded that the evidence did not support allegations that Gorman sexually assaulted St. Laurent, nor that the killing was premeditated.

Mills recounted Gorman’s troubled past, starting with his deceit of police investigating the St. Laurent disappearance, and including a juvenile conviction in Florida, drug use starting at age 12, and fathering two children for whom he does not now provide.

Mills told Gorman he could not hide behind an excuse of a bad life and had “chosen not to make those gains” that could have helped him improve his life.

“You have shown absolutely no remorse. To this moment you remain defiant,” Mills told Gorman as she told him he would have to spend 60 years behind bars.

After the sentencing, Strike told the American Journal he would appeal. One problem he had with the trial was that Mills allowed Westbrook’s grand jury testimony to become evidence without being challenged by defense attorneys.

During Gorman’s trial in January, Westbrook claimed she had no memory of speaking with her son after St. Laurent’s body was found and did not remember telling a grand jury about the conversation, in which Gorman allegedly confessed the crime.

Deputy Attorney General William Stokes said the appeal would likely not go to oral arguments until January 2004.

Mall built on pig farm could sell for $250 million

Published in the Current and the American Journal; co-written with Brendan Moran

Maine’s largest retail property, the Maine Mall, is up for sale, and some speculate the one-time pig farm could go for $250 million.

Until the late 1960s, the land was home to a number of pig farms. “There was at least 1,000 pigs in there – or more,” remembered Bob Fickett, a South Portland councilor who raised pigs himself on a Highland Avenue farm.

The area’s pig farmers were paid by towns to pick up trash, which they would then bring back to the farm, boil to sterilize and feed to the pigs. “Garbage that was worthless provided an income,” Fickett said.

In the late 1960s, Massachusetts developer William Lane purchased the land
piecemeal from the owners. He died in 1969, and his estate sold the parcels to Julian Cohen of Eliot, Maine. The land was wet and not great for building. “T ey drained a lot of it when they went in there” to build the mall, Fickett said.

Even now, “when they build out there they have to put in pilings that run dozens of feet into the ground,” said South Portland City Manager Jeff Jordan. The location was perfect, at the intersection of I-95 and I-295. The mall flourished, expanding several times and buying up land to create other shopping areas in the region.

Cashing out on top
S.R. Weiner & Associates, one of the companies that now owns the mall, plans to sell the 1.2 million square feet of retail space, which includes leases with Filene’s, Macy’s, J.C. Penney, Sears, Best Buy and Linens n’ Things.

Sources familiar with the mall’s operations and commercial real estate said the mall could sell for around $250 million.

Cigna Insurance and the New York State Teachers Retirement System own the mall with S.R. Weiner. Tom DeSimone, the executive vice president of S.R. Weiner, said the decision to sell the mall was unanimous.

“We did it because it made a lot of sense,” said DeSimone. Low interest rates have created a seller’s market. DeSimone also said that because the mortgage will mature next year, this would be an opportunity to sell it without debt.

“If you’re considering selling, there’s no question the time is now,” said Tom Moulton, a principal at NAI/The Dunham Group, a company that specializes in marketing commercial real estate. Moulton said the real estate market has been hot for the last couple years, but it’s unclear how long that will last.

“There is a very competitive market for this type of property, and it has a longstanding track record for outstanding economic performance,” said Jerre Bryant, the former general manager at the Maine Mall and currently the administrative assistant in Westbrook.

Bryant said the Maine Mall can charge higher rents than the demographics can support because it has virtually no competition. He said the mall also gets a boost from summer tourists. He said the mall did market research that proved as much in 1998.

“What we learned is the summer tourist in Maine is generally pretty affluent,” said Bryant. “They do spend money, and they spend it at the Maine Mall.”

Bryant said the sale made sense from S.R. Weiner’s perspective because the mall wouldn’t continue to expand at the rate it has. DeSimone said the mall has tripled in size since Stephen Weiner, the founder of S.R. Weiner & Associates, purchased it in 1981.

“The mall will continue to appreciate in value,” said Bryant. “It’s just that the rate of growth certainly was greater for the last 10 years than one would anticipate in the next 10 years. So I think the timing is good from an investment return standpoint.”

Bryant said S.R. Weiner is a much different company than it was 20 years ago. The Maine Mall was the first retail property Weiner bought, and, Bryant said, for many years it was the anchor in his real estate portfolio.

Weiner bought the mall in 1981 from Leatherbee and Company – Julian Cohen’s real estate company. Before buying the mall, Weiner
had been an executive at Leatherbee.

S.R. Weiner now owns and manages about 50 retail properties or about 14 million square feet of commercial space. Its sister company, W/S Development Associates, is currently developing 2.6 million square feet of commercial space, which includes the old Bradlees Plaza in Westbrook.

“We’ve all been in this deal for a long time,” said DeSimone. “Some of us for as much as 22 years.”

Big contributor to city
South Portland officials will be watching the sale closely to see what company purchases it and for how much. The mall contributes $3.1 million in real estate and personal property taxes to South Portland.

City Assessor Elizabeth Sawyer said the Maine Mall had been looking for a review of its assessment to get $20 million removed from its $142.8 million real estate tax assessment. But Sawyer said that request has been dropped.

Sawyer said the sale would not trigger a reassessment but said she would include the sale information in a review planned for next year, in which she will revisit last year’s revaluation of all properties. “I’m sure assessors throughout New England are going to be very interested” in the sale price, she said.

“We want the type of owner S.R. Weiner was,” said City Manager Jordan. He said the company has done a lot for the community, including supporting the People’s Regional Opportunity Program and holding charity nights around the Christmas holidays.

Jordan said the company approached him five years ago and offered to pay for a full-time police officer for the mall. He said it’s cut down on crime at the mall and saved the city money it would have had to spend on an officer to deal with shoplifting and other crimes at the mall. “Hopefully, that will continue” under the new ownership, said Jordan.

“I’d say there’s a wealth of buyers that could be interested in it,” said DeSimone, who said the buyer could be anything from a large mall management company to a pension fund.

Bryant said the Simon Property Group, the company that manages the mall, would most likely purchase the property. Based in Indianapolis, Ind., Simon Property Group manages 238 properties around the country. “They are the preeminent owner and manager of mall properties in the country,” said Bryant.

A spokesman for the company said they don’t comment before closing on a property. Simon began managing the Maine Mall in February of 2002.

“They never would have taken on the management contract if they didn’t have a desire to become owner,” said Bryant.

Bryant said consumers probably wouldn’t see much of a difference with the mall under new ownership. He said employees would probably see the biggest change.

“It’s not going to be dramatic change,” said Bryant. “I do think by virtue of being a publicly traded company that has to show a return, they do have to be a little more bottom-line oriented.”

A Roman candle: What it takes to set theater folk off

Published in the Portland Phoenix

What is the worst that could happen to a project you have worked hard on — so hard that you’ve fallen in love with it, can’t wait to show people, and are just dying to hear reactions to it? Such are the jitters backstage on the opening night of a play.

And what if you are the diva who has staked her reputation on this of all shows, the first by an unknown, a moving, brilliant work? What if it’s so avant-garde, in fact, that, by the end of the second act, even the playwright himself has begun to laugh and walk out? Such are the night terrors that stalk the stars.

How will you react? As Daedalus, staring stunned as Icarus falls to the sea, or as Sisyphus, who, no matter the certainty of futility, will continue to push that rock uphill? In Light up the Sky, Pulitzer Prize-winning playwright Moss Hart takes a swing at the cheapness and false sincerities that pervaded theater in the 1940s. We would now call that environment " Hollywood, " though Broadway is certainly not immune.

And yet the play retains a song of hope, of integrity, of comeuppance to theater types, of whom Hart was among the most celebrated. He may appear himself, somewhat, in the character of the sage playwright Owen Turner (Bob Dunbar), advising the young playwright on the realities of his newfound craft.

The main characters are all divas in their own ways. There is traditional swanning Irene Livingston (Dee Cooke); her mother, matronly superior Stella (Marie Cormier); overwrought and toujours-near-tears director Carleton Fitzgerald (George Dunn); wannabe top-diva Frances Black (Nikki Hunt); and even fiscal-rabbit-from-a-hat man Sidney Black (Scott Jones).

But none is more a spoiled diva than idealistic newcomer Peter Sloan. Sticking madly to his own ideas and keeping none but his own counsel, the playwright character, played with a light and loving touch by J.J. Barnett, remains aloof from all those who have put so much into making his writing real.

As opening night progresses and the play appears to bomb, the close-knit, passionate team self-destructs, leaving Sloan broken and bitter about the two-faced nature of his newfound " friends. " And yet comes the (ironic and to this one’s mind, frightening) awesome power of the least-seen of all theatrical forces: the reviewer.

The play within this play is an allegory, but so is the entire production, illuminating an essential part of the human condition by using metaphors and analogy. How quick people are to leave a ship perceived to be sinking, and how quick they are to leap aboard when its seaworthiness is proved!

Light up the Sky is about the theater world, complete with lessons on the etymology of " drama, " " theater, " and " audience. " There is sage advice from an experienced director, marketing tips from a man who knows his business, and the frustrated, beaten-down voice of the playwright.

Doree Austin is also an experienced director, who brings to the wings a strong background of wide range. The Gaslight’s marketing folks managed to draw a near-full house without so much as a sign outside. And Hart, of course, was ultimately far from frustrated but had his moments.

There are comic moments, well-delivered lines, and strong character exploration in this production. It would have been nice if Nikki Hunt, fresh from high school, had slowed her delivery a bit, but everyone else did a wonderful job in what approached an open-air performance on a hot night, and even Hunt remained a powerful presence on the stage.

The supporting cast, from unassuming Miss Lowell (Lynn Truman) to one drunk Shriner (Gary Wilson) and another more businesslike (Dan Collins), added an air of authenticity to this 1940s period play, topped off by the Irish accent on a Boston cop (Bob Witham).

Perhaps if we were still in the 1940s and ’50s, before entertainment reporters and gossip columnists showed the warts on the nation’s best-loved faces, the comic disbelief would be sharper. As it is, we know the infidelity — personal and professional — that breaks up shows, acts, and lives of the stars, and it is all too real.

Light up the Sky
Written by Moss Hart. Directed by Doree Austin. With Dee Cooke, George Dunn, Scott Jones, Marie Cormier and J.J. Barnett. At Gaslight Theater, in Hallowell, through June 28. Call (207) 626-3698.

BACKSTAGE

• Hey! They rocked the house over there! The Cast — Craig Bowden, David A. Currier, and J.P. Guimont — along with Elizabeth Chambers, Shannon Campbell, Joshua Stamell, and Jeremy J. LeClerc, put on a fabulous festival of short plays and monologues by three top contemporary playwrights. Carefully selected and cleverly juxtaposed theatrical tidbits showed a vast range of humanity: a second try at a first date, and the secret lives of ironworkers, DMV staffers, the Hardy Boys, and a Mamet minister. Their bare-bones approach exposes the true shine of their acting talents. Seek out their work on other stages.

• Jason Wilkins is working on a musical, Naked in Portland, that’s been in the works underground for over a year. A benefit CD is out, a fund-raising concert is coming up (July 24, 7:30 p.m., St. Lawrence, $10) and PSC intern R.J. McComish is on board as director. Word is some of the area’s top actors are being approached right now for parts. The run will be in September and October at the PSC Studio Theater. Watch this space for more.

Organic pest repellent with a hint of garlic

Published in the Current

They call their major piece of manufacturing equipment a “daiquiri machine.” In the development lab downstairs, three blenders sit empty on a countertop, with a bucket of crushed hot peppers and piles of garlic husks on the floor nearby.

This is not any sort of new-style restaurant. The “daiquiris” will be an insect repellent called “Anti-Pest-O,” manufactured from the peppers and garlic and dispensed into 55-gallon drums and shipped off-site for packaging and distribution.

Holy Terra Products has come a long way from the basement of Dr. Jim White’s Cape Elizabeth home, where the corporate headquarters, development lab, product mixing and garden-testing all were 18 months ago.

Their product, still waiting for U.S. Environmental Protection Agency approval, is an all-natural, non-toxic insect repellent that is effective on a wide range of pests, if White’s own garden is any indication. It contains none of the chemicals in most pest repellents and insecticides, and quickly gathered a large following when on the market briefly in 2002.

At the Whole Grocer in Portland, “they were standing in line,” White said.

The company then believed Anti- Pesto-O would be exempt from the EPA regulations, but had to pull the product because of state requirements.

Many stores, hoping it would be back, held shelf space for the product for several weeks, but are no longer.

“We get requests every week,” said Mike St. Clair, a former retail marketing executive at Hannaford Brothers, who joined the company recently to serve as vice president for sales and marketing. “We’re anxious to get to market.”

The company has hired a regulatory consultant in Washington, D.C., to make sure the EPA permitting process goes smoothly. That involves product-safety tests on animals, and on people.

The “ultimate irony” in a year of EPA-required safety research, St. Clair said, is that “in the process of testing, the EPA has allowed us to put (Anti Pest-O) on food products that are consumed directly by humans.”

Now the company is just a few weeks from filing. The regulatory process has been “frustrating and aggravating,” taking a lot of time and including expensive tests.

“It is almost financially prohibitive,” White said. St. Clair said there should be new rules for organic products to make it easier to prove they are non-toxic.

Even getting enough supplies is a challenge. The company had to go all the way to India to find an EPA-approved supplier of a major ingredient, neem oil.

In mid-2002, Holy Terra moved to the Center for Environmental Enterprise, a state-funded business incubator on the SMTC campus. CEE provided a lot of help, including access to public agencies and other businesses that could help. They also connected to marketing classes at USM, which did some research for the company.

USM’s patent office helped the company write and file a patent on Anti-Pest-O, which is still pending.

They were hoping to use some of the CEE building’s basement for production, but ran into problems because SMTC didn’t want to give up the space, St. Clair said.

In October 2002, the company met with a group of investors who agreed to kick in $500,000, some of which is keyed to sales figures when Anti-Pest-O goes on the market.

That cash allowed an April move to the Fox Street Business Center in the old Freightliner trucking building in Portland. The company has enough space for production there and can expand if necessary.

Now they are gearing up to produce an infomercial to hit national airwaves early in 2004. The retail market will be first, including major hardware chains as well as natural-product sections of grocery stores.

St. Clair expects Anti-Pest-O to do very well with a wide range of customers. “They’re interested in finding an alternative to toxic chemicals and toxic solutions,” he said.

The company has also met with the state Commissioner of Agriculture and the Cooperative Extension program at UMaine. “Everybody is extremely interested in this,” White said.

Agricultural buyers won’t come on board until after even more studies are completed. USM and UMaine are just beginning work and may not be ready for two years.

Research will determine how it can best be used in what is called “integrated pest management,” using a variety of methods, including crop rotation and beneficial insects, to reduce the number of chemicals applied to crops.

White has plans to expand the product line, including possibly ncorporating Anti-Pest-O into other products.

The company has maintained its sense of practicality, including a not-too-official memorandum. On a white board next to St. Clair’s desk, his 10-year-old daughter has written this simple to-do list: “1. Make AntiPestO, 2. Test AntiPestO. 3. Get AntiPestO aprooved (sic). 4. Sell AntiPestO.”

The potter at Higgins Beach

Published in the Current

Bill Cox has spent a lifetime of summers on Higgins Beach. He says it’s a break from his pottery at home in Pennsylvania, but he still manages to draw inspiration from the Maine coast, and sell a few pieces as well.

“I’ve always been fascinated by the colors of blues and greens in the ocean,” Cox said. He also looks for colors in the local rocks. “Sometimes I’ll photograph things,” and take the pictures back to the studio to work on recreating the colors, he said.

Cox, 75, is a retired research chemist who now pursues his “serious hobby” of the past 20 years with a scientific passion.

“My real interest is in glaze development,” Cox said. “The chemistry of these temperatures is very complicated.”

He keeps a notebook with formulas for glazes and the results of testing different bases and ways to apply glazes.

“You can put the same glaze on two clay bodies and they’ll look very different,” Cox said.

He sometimes mixes the clay himself, but not usually. More often, if he doesn’t use just a standard commercially available clay, he’ll use Maine materials to put what’s called a “slip” on it – a thin clay mixed with other material on top of a generic clay base.

“Sand imparts texture and color,” Cox said.

He always mixes the glazes according to his own recipes. Finely ground glass is the basis for all glazes, as are differing amounts of clay, feldspar and talc. Other substances add color. Amounts of iron vary the depth of brown or yellow, while cobalt imparts a blue color.

Each substance has a different melting temperature, which affects how the glaze appears after it has been fired in a kiln.

Sometimes he has a color target but usually he is playing with a recipe he has used before.

Cox tries to keep only about a dozen mixed glazes at a time, to prevent his
studio from being too cluttered.

“I’m still fascinated with bowl shapes,” Cox said. “It enables me to show the
glaze both inside and outside.”

They also reveal the glazing process. On Cox’s bowls, places where a slightly too-thin glaze has dripped a bit are evident, as are overlapping areas where the items are hand-dipped.

Cox also keeps records of how he coats his pottery with glazes. Dipping a bowl in glaze quickly results in a lighter color than pulling it out slowly.

Even so, there are some appearances he just can’t recreate, despite all of his notes. He chalks those up to variations in materials from his suppliers and moves on. He is a studio potter, not overly concerned about whether a large number of his items match in the ways that commercially made pottery must.

“The glaze development just goes on and on and on,” Cox said.

He makes some pieces for family members and also sells his work at a gallery in Naples. Much of his work is sold right from his studio in Pennsylvania, but he brings some up each year to sell at the Higgins Beach Craft Fair in August. This year the show will be held Aug. 15 and 16 in a community building near the Higgins Beach Inn.

He also has donated work to support fund-raising efforts of the Friends of Scarborough Marsh, Maine Audubon and the Scarborough Historical Society.

His family is long established in Higgins Beach. In addition to family in the area, his father first came there in 1918. “Ironically he stayed in this cottage when he was a bachelor,” Cox said of the cottage where he now spends summers.

He does not accept commissions. “This is what I do. If you like it, that’s fine,” Cox said.

Fine going up for spill

Published in the Current

The state Department of Environmental Protection has rejected a proposed settlement from the insurance company representing the trucking firm responsible for an April 7 jet fuel spill in South Portland and will now assess damages.

“At this point, we wouldn’t be negotiating. We’d hand them the bill,” said John Wathen, regional director for the DEP. The DEP will determine the amount based on what is expected to be a year-long study on the impact the spill had on the surrounding environment.

Both parties had hoped to reach a settlement, but the insurance company made “an insufficient offer,” according to Wathen, who said before negotiations collapsed that he was looking for “something in the six-figure range.”

Sean Dundon, the environmental-impact insurance adjuster representing the trucking company, expected it to be “less than $100,000.”

The DEP already has taken several aerial photos of the damage to the marsh grasses near the site of the incident in which a fuel tanker truck overturned on Broadway, spilling 6,000 gallons of jet fuel into the street and culverts leading to the Fore River.

The accident occurred right in front of the fire and police station.

In the next two weeks, scientists will be collecting samples from the shellfish and sediment in the area and analyzing them to determine how much fuel remains in the environment and what the spill’s lasting effects will be.

“This is a process. There are a lot of things we’re going to do,” Wathen said. “All of the costs will start going on the tab.”

He said the bill, which would include staff time and lab fees as well as compensation for the environmental damage, could be as much as $500,000.

Dundon said his understanding from the DEP was that the April 7 spill was “much smaller” than the Julie N spill in 1996, which released 180,000 gallons of crude oil into Portland Harbor when a tanker hit the Casco Bay Bridge.

The cleanup cost $50 million, and the DEP fine, $1 million, was finally agreed upon in 2000.

The driver of the truck in the April 7 accident, Michael McCarthy, 43, of Berwick, was given a summons for imprudent speed, a charge carrying a $98 fine.

“There is some (lasting) damage,” Wathen said. It is limited to the cove to which the spill was contained and can be seen in growth differences between marsh grasses in the area and uncontaminated places nearby.

“We’re concerned about shellfish in the mud” as well, Wathen said.

He said the study is worthwhile not only for this case, but also because jet fuel spills are relatively rare. Gathering more information about the impact of jet fuel on the environment could help people dealing with future spills, here or elsewhere.

Jet fuel is far more volatile than crude oil, which can stick on wildlife or other surfaces for months. Much of the fuel evaporated during the days after the spill, and about 40 percent of it was collected during the post-accident cleanup.