The Dingman Collection

June 22, 2018 — Some of the finest antique automobiles I've seen were on display on auction preview day at RM Sotheby's in Hampton, New Hampshire Friday. The auction was to be held Saturday and Sunday. On the block was the collection of Michael Dingman, a former Ford Motor Company director, so there was a predominance of Ford products. Also included were many other automotive items.

The photos may seem a bit repetitious as there are many Fords from the thirties and forties, but these are beautifully restored specimens, and most of them were on display outdoors on a perfect sunny day. I photographed many of the cars from several angles, as well as inside. Besides the Fords, there were two rare 1942 Lincoln Continentals and a few offerings from other manufacturers.

Take a look. If you love cars, you'll be dazzled by this fine collection:

https://www.linwoodstreet.com/dingman/

"Tru"

June 21, 2018 — Since witnessing Kraig Swartz as flamboyant writer Truman Capote, I've watched several interviews and late night show appearances on the internet by the real Capote, and I can say without hesitation that Swartz's portrayal was dead-on. The only difference is that Swartz, out of necessity, had to amplify his voice by a few decibels above Capote's pinched nasal twang in order to be heard by the entire theater. But Swartz captured Capote's speech cadence and mannerisms perfectly in a bravura performance.

The title of the play is "Tru" by Jay Presson Allen. It was staged at the Peterborough Players in Peterborough, New Hampshire, directed by the Players' long-time artistic director and actor Gus Kaikkonen, who was also responsible for scenic design. Swartz was the only actor appearing on stage. Tess Borsecnik, Patti Hance, Taylor Dobbs and Joanne Stevens were voices on the phone. Swartz, a Players veteran, has appeared in many comic roles, and I've always considered him one of the funniest men in New Hampshire theater, along with Doug Shapiro and Scott Severance. As Capote, Swartz was both funny and pathetic, addressing the audience directly through much of the play, bringing this complicated, troubled, important literary figure to the stage 34 years after his death.

Now in its 85th year, the Peterborough Players has brought high-quality theater, acting talent, direction and stage craft to New Hampshire.

"Camelot"

June 19, 2018 — Observing its 86th year, the New London Barn Playhouse in New London, New Hampshire, is the state's oldest continuously operating summer theater and is included on the state's Register of Historic Places. If you love rusticity, and I do, you'll love the Barn, in spite of a few challenges. Two heavy wooden posts partially block the view of the stage from some seats, a couple of thinner metal posts four rows down are slightly less obstructive but can be annoying if they're directly in your line of vision. The edge of the low-hanging balcony, which was converted from a hayloft (yes, this was really once a barn), can hide the heads of tall or elevated performers from the back rows. The ancient floorboards are well-worn and the floor has a few waves in it. They ring cowbells to signal the start of the play and return from intermission. You can rent a pillow for 5 cents, the proceeds going to scholarships

On this night, the Barn Playhouse staged Lerner and Loewe's "Camelot" for the fifth time in its history. The Barn has a record of attracting great musical talent and is especially good at producing musicals. This particular production was not the best I've seen at the Barn. That distinction belongs to Sigmund Romberg's "The Student Prince" in my opinion, staged by the Barn a few years ago. But  "Camelot" was still an evening well-spent.

Many in the 18-member cast wore head microphones, something I find annoying. It takes away from the naturalness of the performance, but I suppose they're needed by those whose voices aren't strong enough to cover the entire theater. Carly Valancy as Guenevere did not wear one and her fine soprano voice reached the farthest corners of the theater effortlessly without electronic assistance. Fred Rose as King Arthur did wear one, but that's not a criticism. With or without the mic, his strong baritone was a delight to listen to. In fact, all the singing talent was first-rate. The band, while very good, was a bit uneven in volume, but to be fair, the acoustics in the old theater-in-a-barn can be challenging.

I won't attempt to name all members of the fine cast, but those who stood out, besides the aforementioned Valancy and Rose, were Andy Tighe as Lancelot and Gabriel Florentino as Mordred. Adam Zeph played the dual roles of Merlin and Pellinore.

Russell Garrett directed "Camelot" for the Barn. Brad M. Carlson was responsible for scenic design, Emily Kimball costume design and Ben Montmagny sound design. Cecilia Durbin (www.durbinlighting.com) was lighting designer.

"Miss Julie"

June 14, 2018 — Interpreting this 1888 play by August Strindberg is a bit much for me to get into. Suffice it to say it's about class and gender and jealousy, all taking place in the kitchen of a manor house in Sweden. I'll just concentrate on the excellent performances by three actors.

This adaptation of "Miss Julie" by Howard Brenton was directed for the Winnipesaukee Playhouse in Meredith, New Hampshire, by theatre KAPOW co-founder Matt Cahoon. A valet at the manor, Jean, was played by Nicholas Wilder. Rebecca Tucker appeared in the title role. The other theatre KAPOW co-founder, Carey Cahoon, who once played Miss Julie herself, in this presentation had the rather understated role of Kristin, a housekeeper. Of course, any role would have seemed understated compared to Wilder and Tucker's scenery-chewing performances, or in the case of Tucker, near destruction of the scenery late in the play.

Jean is a valet to the earl of the manor. Kristin is referred to as his fiancée, but their relationship is strangely lacking in affection. Miss Julie is the daughter of the count who owns the estate. Her relationship with Jean is unmistakably passionate, but with dire consequences. Much is open to interpretation, or can be what you want it to be. That's why I'm not commenting on it. My take on it could be very different from someone else's. You have to see it.

In about 75 minutes with no intermission, the play gathers emotional momentum as it progresses. Wilder gave one of his patented over-the-top performances. I love watching him. Tucker had the fieriest role I've ever seen her in. These two actors were mesmerizing. Cahoon, a versatile actress I've seen many times in a variety of parts, had the least time on-stage and the smallest amount of dialog, but her facial expressions and body language said volumes.

Andrew Stuart's set design,  Lori McGinley's sumptuous costumes, Tayva Young's lighting and Neil Pankhurst's sound and a well-placed chorus enhanced the performances.

Heritage Museums & Gardens Annual Car Show

June 9, 2018 — It was my second time at the Heritage Museums and Gardens in Sandwich, Massachusetts, but the first at their annual car show held outdoors. There were many exceptional cars, but too many for the size of the field, and they were packed in like sardines. A high turnout of spectators added to the difficulty in photographing individual cars. I commend them for moving their rarest cars off to the side where they had some space, among them a 1931 Duesenberg once owned by actor Gary Cooper. Inside the J. K. Lilly Automobile Museum was an exhibit of race cars going back to 1911.

Whenever at the Heritage, a walk around the grounds rewards one with photogenic flowers, trees, the towering flume fountain, a windmill and an adventure park featuring a zip line. Speaking of the windmill, it had lost its blades since the last time I saw it. They had to be removed for safety reasons because of their rotted condition. A GoFundMe page has been set up to fund their replacement.

In spite of the crowded conditions, I came away with over ninety photos of some really exceptional cars, along with the race cars and a few shots around the grounds. You can see them at this link:

https://www.linwoodstreet.com/heritage2018/

Berwick Car Show

June 4, 2018 — It was the first time I had seen this car
show in Berwick, Maine, hosted by the American Legion. Held around Berwick Town Hall in Sullivan Square and spread out along a street closed to traffic, it exceeded my expectations. I estimate there were more than 200 vehicles, up from 150 last year. Many of them were very high-quality restorations, along with some all-original specimens, and the usual customs, street rods and a small collection of motorcycles.

Highlight of the show for me was a trio of 1948 convertibles, a Mercury, Buick and Studebaker, parked side-by-side, all observing their 70th birthday, all beautifully restored. A bright red 1947 Cadillac sedanette also stood out.

Photos of this show can be seen at:

https://www.linwoodstreet.com/berwick2018/

Budweiser Clydesdale Hitch Team

June 3, 2018 — I left the Goffstown car show early to
get to the Anheuser-Busch Brewery in Merrimack, New Hampshire in time to see harnessing up and hitching up of the huge Clydesdale horses in an eight-horse team to pull the famous Budweiser wagon, like the ones seen in their commercials. The wagons, made by Studebaker, weight 7,200 pounds empty.

Getting the harnesses and ornate collars on the eight horses, one at a time, took almost an hour. Once each horse was harnessed up, it was hitched to the wagon. These giant beasts are the most docile, patient creatures I've ever seen. None could move until all eight horses were hitched up. One gentleman sat on the wagon holding the reins just to keep them still. Once all the horses were hitched, he was relieved by the two official drivers, and they could finally move, much to the delight of the large crowd of spectators that had gathered.

They made several laps around a large field, then finally stopped for picture-taking. Here again the horses remained still for about a half hour as spectators took photos and had their own photos taken by an official Budweiser photographer. Following that, there were a few more laps, then they finally headed for the stables, almost three hours after being harnessed.

You can see the majestic Clydesdales in a video and a handful of photos at this link:

https://www.linwoodstreet.com/clydesdales2018/