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Procreation Politics

womens-health

The news of the United States Senate discussing a limit on abortion is going to stir up conversation. By now we’re all pretty clear that some people do not approve of abortion. Those people should either never have one or never impregnate someone. Many other people consider it a choice with restrictions. Then there are others who don’t consider other people’s choices any of their business. In recent years any political discussion of abortion seems geared to appeasing a specific populace and there is usually a religious subtext.

However when discussing a term limit (in this case of 20 weeks gestation) it is a conversation about science and economics not about religion. Science is a wonderful thing and many of us owe a great deal to advances in medical research. Never before has the natal experience been so orchestrated and monitored. We now can manufacture zygotes that grow into fetuses that become babies. We can monitor and test for far more diseases and defects than we really care to consider. Many of these screenings occur at different stages in a pregnancy. Some maternal or fetal crises develop at any time (including into delivery.) It can be rather late in a pregnancy that an extreme fetal anomaly is detected. It is devastating news to receive and simply unthinkable that a woman would have no choice but to soldier on for perhaps five more months. With much of the fertility interventions we have now, multiples are not an unusual occurrence. Multiples always carry a higher risk both to the woman and the other fetuses. What happens when one fetus is threatening the life of the others in utero? How is the decision made to “protect the unborn” then made? It is also essential to keep in mind that a woman’s health can be jeopardized at any stage of a pregnancy.

If the health of the fetus or mother is not in jeopardy there are limited reasons a woman would seek an abortion after 20 weeks. Many of those reasons would cease to exist if we had safe, affordable, accessible abortions any and everywhere in this country. There will always be women who come to the decision later in the pregnancy (for varying reasons.) But for the most part, if abortion were as available as sonograms in this country, later abortions would be less of an issue. By making abortion accessible we’d also help to lower any stigma a woman might feel.

Having a later term abortion is never desirable for anyone involved. It involves a pregnancy that is visible, presumably a difficult decision process, and a more complicated procedure. You’d be hard pressed to find a woman making a casual decision about such a thing. That alone is reason enough for politicians to get over regulating women’s bodies and step up to improving women’s healthcare. It is outrageous that in the 21st century, people with resources can make (and shelve) all the zygotes they wish while people with limited resources must rely on the whims of their elected officials to control their procreation.

 
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Posted by on July 28, 2013 in Cultural Critique

 

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I’m Getting My Act Together And Taking It On The Road – Review

act

Somebody wants some supper fixed
And somebody wants some love
And there’s just no time to write a song to say what I’m thinking of
But tomorrow I hit the road
Gonna let loose of this heavy load and FLY!

Few shows capture a time period as perfectly as Gretchen Cryer and Nancy Ford’s I’m Getting My Act Together And Taking It On The Road. It was a feminist anthem, performed at Joe Papp’s Public Theater in the late 1970s and is being (briefly) revived as part of the Encores! Off-Center series at NY City Center.

The tale (based upon Ms. Cryer’s experiences) is of singer Heather Jones and her attempt at finding her own voice. Today is Heather’s birthday, she’s 39, which her manager Joe urges her to keep to herself. He would prefer she not mention being a single mother or express anger or upset the men in the audience. He wants her to be successful and then she can sneak in the real. Set in a theatre, during the rehearsal for this evening’s opening night, adds to the overwhelming believability of this show. Unlike many “showbiz” shows, we are watching real people have a real experience. The songs are seamlessly woven into the narrative creating almost an operatic quality.

It can be challenging to sing and say words so steeped in a movement or time period. Singing rock together with ballads is not for everyone, particularly with the original recording artist sitting in the front row. But Renee Elise Goldsberry (Good People, Rent, Lion King) transcends even the highest expectations. Her voice has a quality not often found today; it is devoid of belting and breathiness and filled with richness and feeling. Her sound is reminiscent of female folk singers of the 1970s, a delightful auditory nod to the time period. There is nothing anachronistic about her performance however. She is fresh, real and present. She sings of growing up in the 1950s and being told to smile. “If you smile in just the right way you’ll make a pretty wife and someone will take care of you for all your pretty life.” When Ms. Goldsberry sings these words we don’t think of sepia toned photos of a little girl in front of the family car. Her interpretation makes us think of Facebook photos showing girls in identical suggestive poses.

Fredrick Weller (Glengarry Glen Ross, Take Me Out) is perfectly cast as the layered manager Joe. His delivery (of some of the funner lines) is timed to the millisecond. He is infuriating and endearing and a wonderful counterbalance to the “artist” energy on the stage. Theirs is a friendship that you suspect and hope will go the distance, despite (or maybe because of) their differing viewpoints. The friendship itself is serenaded in the showstopper Dear Friend. Joe wants Heather’s act to play the Troubadour, and he feels that her reading her divorce decree out loud is not the ticket to success. But Heather’s been down this road before. She has recorded a hit song that now makes her physically ill in its sweetness. She works on a soap opera where she’s undoubtedly polished and pushed into a mold. She has some experience with being put in a package and sold. The (fabulous) band and her female back-up singers are only too glad to help her deliver the real. Christina Sajous (Spiderman, Baby It’s You) and Jennifer Sanchez (West Side Story, Ghost) create a perfect sound and harmony with Ms. Goldsberry. Jason Rabinowitz (acoustic guitar) breaks the audience and Ms. Goldsberry’s heart with a solo performance of In A Simple Way I Love You.

It is always a bit risky to revive a period piece that was not a runaway hit. But under the deft direction of Kathleen Marshall and with a cast to beat the band, this production may actually surpass the original (which this reviewer saw and committed to memory as a very impressionable woman in training.)

 
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Posted by on July 25, 2013 in Uncategorized

 

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The Living Is Easy

beach

You may live somewhere unbearably hot and humid, or somewhere unseasonably cold and clammy; geography aside, the season holds a certain appeal. There is not other time of the year in which the message is “slow down you move too fast.” For three months (out of every year) we are expected to indulge in the lazy hazy days of summer. This mood and mode are in direct opposition to the other nine months of the year that can be characterized as “make a buck, make a buck” (to quote Alfred the Macy’s Santa helper.) It’s a startling contrast when you think about it.

We are a money worshipping society. Ever day there’s a study on wealth, a new report about what it takes to retire, or an expose on social mobility. “To infinity and beyond” is our national motto. We care less (collectively) about the quality of life versus its price tag. Yet here smack dab in the calendar year we’re told to kick back, put on our wayfarers and sip an umbrella drink. And yes, how we engage in these endeavors varies according to wealth. But whether your driver is taking you to the Hamptons helipad Friday afternoon, or your sitting on a folding chair in your backyard, toes in the wading pool, drink in hand, the mood and the intention are the same: the living is easy.

You may enjoy all the recommended activities of summer, or you may find all that outdoorsiness to be uncomfortable and buggy. What you do isn’t nearly as important as how you feel. You can of course choose to engage with summer as a competitive sport making your way through a “bucket list” (the very term conjures an unpleasant farm or outdoor plumbing experience.) That of course is your prerogative. But unlike any other time of the year there is no external pressure to do so. Summer is about sensory pleasure pure and simple. It’s three months of berry stained fingers, sand in your toes, the cooling breeze of a fan on your skin, and the sound of clinking ice (and the ice cream man.) It’s a season of forgetting your troubles and just getting happy.

 
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Posted by on July 23, 2013 in Well-Being

 

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A Delicate Balance

nurse

As long as the world exists there will be cause for concern. There will always be people treating each other badly, leaders using extraordinarily poor judgment, and exasperating public sentiment. It is tempting to become mired in the infuriating or insipid. But it is not advisable. Most people, unless they fall into the sociopathic spectrum, care about the world around them. Some of us are more inclined to empathize with the natural world; some consider human rights their bailiwick. There are others who are more meta in their concerns and look at the world as a whole and think; OMG! Whether you choose from column A, B, C or make your own hodgepodge, it’s crucial to keep perspective.

There are people who dedicate their entire lives to affecting change. Their work, lifestyle and every waking moment are spent trying to eradicate something. Most of us however are not chaining ourselves to trees or sleeping outside of the Supreme Court. We do what we do; write checks, canvass voters, write elected officials, participate in protests, adopt strays; and hope it makes a tiny difference. We talk about what’s important to us in the hopes of raising consciousness (and with the fear that silence=complicity.) We teach our children about our politics and social values in the hope that they will be engaged and do good work. But just a small step beyond this lays the tricky territory. Thanks in no small part to our 24-hour news cycle & group think of social media, we can easily become mired.

We know this is more likely to happen during any type of disaster (“disaster” for our purposes is defined as anything that is named and given a news show graphic.) Rarely is there any “news” after a disaster, but the coverage churns on. When the last of the confetti has been swept, the media rolls out the “how to talk to your kids about (insert disaster moniker)” “Experts” tell us how to speak to children of every age (hint: make it age-appropriate.) Nobody ever seems to question how a child would know of this disaster. Unless the child is directly affected by it, why is anyone exposing them to the incident? We run the risk of having our child think of the world as a frightening unpredictable place. There’s no reason for them to know that just yet. Let them wait until they’re big and strong and feel less vulnerable.

Disasters aside, dismal things are always happening and as adults we must find our way. We must walk away from the chatter and toward meaningful conversation. We need to know our limits and put down the paper or remote. We need to decide how much is too much and find our balance of engagement. Life is more multidimensional than simply repairing the world. Life includes relationships, celebrations, and pleasure. It doesn’t help anyone or anything to compromise these gifts of life. What point is there in repairing a world in which there’s no joy?

 
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Posted by on July 22, 2013 in Well-Being

 

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The (T.V.) Guide Of Casting

Betty

It’s late July and the first whispers of Broadway’s 2013-2014 season can be heard. Unlike a sighting of back-to-school displays, this prematurity is welcome. Even if one loves the summer and is ensconced in a villa or beach hideaway, paradise can get a bit tedious. And if you’re of the school that there is never enough sand, seafood and sangria it’s nice to think of how you will assuage yourself once the leaves turn. And let’s face it, anticipation is more than half the fun.

If you’re a lover of (what I call) main stage Broadway and swoon at all things Llyod Weber, there’s almost always something to look forward. It’s also almost a sure bet that revival lovers will be happy. But what’s more of a gamble, and therefore a bit exciting, is news of new works, fabulous directors or stellar stage performers. Both camps of theatregoers; main stage and not-so-main stage often experience FOMO (fear of missing out) in extreme form. The line for the cronut is nothing compared to the virtual line for an “insert celebrity name here” show, jukebox musical, or made from TV, or film show. Nothing creates buzz like buzz, and most main stage shows have a marketing machine to beat the band. A quieter, no more attractive frenzy occurs over the not-so-main stage offerings as well. The bragging rights are comparable as well. In brownstones, penthouses and rent control classic sixes, you can hear any of the following; “Cumming’s Macbeth? We saw it before it went to Broadway. Of course Patti was great in Gypsy, but the Encores! production was quite different. You wanna see flying? You MUST see Peter and the Starcatcher.” (Somewhere in apartments we couldn’t afford or dare to enter there are similar conversations of theatre so obscure & avant-garde that knowing their titles is as good as seeing them.)

John Patrick Shanley (Doubt, Defiance), James Lapine (Sunday In The Park With George, Into The Woods), Doug Hughes (Inherit The Wind, Mauritius, A Man For All Seasons) will be collaborating in various configurations at The Manhattan Theatre Club. These names are guaranteed to perk the imagination of any theatre lover. The Manhattan Theatre Club often achieves a delicate balance of risk and sure thing. They produce new work and attract stellar performers. The new work is often very good and the performers are often well cast. (Hardly minor points!) It’s not surprising then that the casting for Mr. Shanley’s new play evoked in me a Scooby-Doo type response. The new work will star Brian O’Byrne (Doubt, Defiance, The Beauty Queen of Leenane) and Debra Messing (television star). Now there are plenty of accomplished stage actors who found fame in sitcoms, but (according to her resume) Ms. Messing doesn’t seem to be one of them. Acting on camera is an entirely different endeavor than acting on stage. (You can test this at home by pulling up the one live show of Will & Grace. While it is still edited it is raw enough to discern where each actor’s comfort zone lies.) This is not to suggest that people can’t surprise us in the most delightful way. I love nothing more than hearing the voice in my head shout; “Crikey, would you look at that! He/she is GOOD!” And (for the right price) I’m willing to give any performer (within reason) the benefit of the doubt. But this casting does have me wondering.

I would love to be a fly (or a less disgusting insect) on the wall during the creative meetings. I’d also love to eavesdrop on the editorial meetings in which celebrity opinion pieces are chosen over journalism. What can I say; I love to witness verbal jousting! I’m absolutely certain (she says while adjusting her rose colored glasses) that at least one person pipes up in these meetings; “Do we really need to go the celebrity route?” before being pelted with cronuts.

 
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Posted by on July 20, 2013 in Media/Marketing

 

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