Sanctuary City--Slightly Touches on Issues Without Much Conviction

    By Joseph Cervelli

While I never saw playwright Martyna Majok's Pulitzer Prize winning play "Cost of Living," I was fortunate to see her excellent "Ironbound" with a bravura performance by Marin Ireland who will be returning to Broadway this season.

Unfortunately, I was not so taken with her new play, "Sanctuary City," that skims the surface. It is a New York Theater Workshop production playing at the Lucille Lortel.  The two major characters (a third appears in the latter part of the one hour forty minute play) never address each other by name. Jasai Chase-Owens portrays B (as in boy?)  and Sharlene Cruz is G (girl?).   B is concerned that he will be deported because his mother is not a citizen. We know very little about her except for some inexplicable reason she goes back to her country of origin leaving the high schooler alone in the apartment. Already, this does not make a lot of sense for it is hard to believe that no one from the school would be aware of this. The time frame is 2006 and there is a brief talk about the horror of 9/11. G's mother has just become a citizen though has a negative track record with men in her life. G's current stepfather has beaten her so she wants to stay with B while his mother is still around. 

An extremely distracting and annoying occurrence is the clipped dialogue both characters have along with repetition of dialogue and lights flashing on and off with a clicking sound to denote a change in scene. Not sure if this was the playwright's decision or the director Rebecca Frecknall.  I could not understand the reason for this since it should be happening during a  scene change which in many cases  there really is not. This goes on for a about 30 or so minutes. There is a great deal of insignificant dialogue and what makes the play never really involve the audience is that the two actors while adequate have little chemistry.

G goes off to college and returns  about 3 1/2 years later wanting to marry B so he can remain in the States. G did bring this up earlier in the play but it appeared to be nothing more than just what a teenager thinks could help without thinking it through A thought that kept going through my mind was "why wait this length of time" to return and again bring up this proposition. When B asks her that very question she looks at him with a blank stare before finally answering "guilt." Probably guilt because she feels she should have done this earlier. Still her answer makes no sense and it is never pursued by the playwright as it should have.

The latter part of the play we are introduced to Henry (Austin Smith), B's boyfriend who wishes he could marry him so he could remain here. There is a conflict that results between Henry and G that never rings true. And it also makes little sense that G would object to this relationship when it is apparent that she and B as indicated never had a sexual one. It always appeared they were no more than friends. Majok touches on gay marriage not being accepted which we know was the case at that time. 

Smith is also not particularly convincing in the role and seems to be struggling to find what his character is all about. This is not completely the actor's fault but again has to do with the dislocated characters that Majok has created.

What sums up this weak and talky play is the last bit of obscure dialogue from B: "when did you," "decide," "what did you have in," "when did your."  Need I go on? 

PHOTOS: Joan Marcus

Tickets are available at the Lucille Lortel Theater 121 Christopher Street. 

The Sound Inside--A Beautifully Rendered New Production

 The Sound Inside

    By Joseph Cervelli

Adam Rapp's "The Sound Inside" which justly received superlative reviews when it opened back in 2019 on Broadway is now being streamed as part of TheaterWorks Hartford in partnership with Revisionist Films. It runs from now through April 30.

Whether or not you might have seen it in New York when it featured the amazingly gifted Mary Louise Parker (as Bella Baird) and newcomer Will Hochman (as Christoper Dunn)  who made a smashing  Broadway debut I urge you to purchase tickets (information below) to view this mesmerizing new production.

While I greatly admired the New York production, I did find it a bit bookish and was engrossed but wanted it to envelop me more than it actually did. Part of the problem then was that it played in a rather large theater. A smaller, more intimate one would have worked even better.  And now beautifully crafted by two directors Rob Ruggiero and Pedro Bermudez it still is an enigmatic work, but Rapp's gorgeous words come shining through in an even more resonant manner. I remember the lush descriptions in the dialogue although the humor which seemed to  to have escaped me then no longer does after this viewing. What might be lost in physicality of staging here works in other ways. 

The first thing you notice is how physically different Maggie Bofill is from the original actor. Parker looked more of an academician (her character is a professor of creative writing at an Ivy League college) whereas Bofill's Bella has the look of someone who might have worked in any profession. I point that out because her less than scholarly appearance may have made Christopher more willing to open up to her. Either way makes Bofill perfectly  captures the sadness and loneliness of this character We are first introduced to her in a monologue about her life. Amidst the seriousness she does describe herself as "sneakily attractive." She loves the author James Saulter because he writes about infidelity, loneliness and divorce. While she was never married the disappointment in her life is quite evident. And to make matters much worse she is suffering from advanced cancer. There is no self pity in her monologue. She states the facts as they are.  No morose mournfulness. It is what it is and she will deal with it anyway she so chooses.  Deciding whether to have chemo or not is discussed later in the play, and she handles that with objectivity which seems to sum up her life. Yet, she does tell one hilarious tale of a one night stand which is refreshing from the heavy material. This is not only thanks to  Bofill's excellent performance but Rapp's elegiac writing which never veers into sentimentality. 

While in her office, the frenetic and highly intelligent Christopher (a superb Ephraim Birney) barges in. He refused to email her office to set up an appointment because of his distain for any type of technology. Is it any wonder he has few friends. His tirades against Twitter, etc. is instantly funny and makes a great deal of sense if not necessarily realistic in today's world. He still does a convincing job of stating his beliefs. Birney captures every nuance as the slightly peevish yet likable young student. It's not much wonder he appears to lack friends stating that when playing sports he is no more than a "dodgeball target." There is a discussion about "Crime and Punishment" which subtlety leads to concern that the murder which takes place in that book may have something to do with the novel that Christopher is currently writing. 

Even though there is limited staging according to CDC guidelines there is never a claustrophobic feel whether they are in a restaurant or Bella's apartment.  Rapp shows the affection they have for each other but it never, thankfully, goes beyond a warm, platonic touch on the cheek. These two characters have more in common with each other psychologically than they even realize.

 

The chemistry between both actors is what makes this production really soar and makes Rapp's words even more glorious. When Christopher explains to Bella he stopped writing for a while because  somehow the story was actually writing him it sounds like an ominous comment and possibly prophetic one which I will go no further in explaining. When he states this looking at their faces you cannot help but notice a definite bond between them.

While the lighting which was so stunning when seeing the show live is a bit less effective because of  unavoidable limitations, you still see glimpses of the always excellent Amith Chandrashaker's (another designed the Broadway production) craft here. And may I add it in no way hinders the production. 

This is a beautifully transfixing work which leaves you with no clearcut answers. A lot of "why's" might be your question to whomever you see it with but that is the mark of a skillful playwright. And that is what Rapp most certainly is. 

For tickets: TW.Harford.org or call the TheaterWorks Hartford Box Office (860)-527-7838. 

PHOTO CREDIT: PEDRO BERMUDEZ

 

Laura Benanti—Cigarettes and Chocolate Milk

By Joseph Cervelli

I have been an admirer of  Laura Benanti from the first time I saw her as the replacement for the late, wonderful Rebecca Luker in the Broadway revival of “The Sound of Music.” I may not have seen every one of her performances but enough to appreciate her gorgeous voice and excellent acting.  I most certainly have never seen a better Gypsy Rose Lee in arguably, the most perfect musical of all time “Gypsy.”

I recently listened to her new CD “Cigarettes and Chocolate Milk” several times, and it is both lovely and moving in many ways. The title of the CD is a song written by the vastly talented Rufus Wainwright. His uniquely fascinating and innovative lyrics are are a class unto themselves.  Benanti is the perfect match for him. There is a naughty innocence as she adds a caress to his lyrics which go from “cigarettes and chocolate are a couple of my cravings” to “I like it a little bit stronger, a little bit thicker, a little bit harmful for me.” You begin to understand the person’s life he is writing about as Benanti adds strength to “playing with prodigal sons…Takes a lot of sentimental Valiums.” Few composers comes up with such distinctive lyrics other than Wainright. 

It tore at me listening to the heart wrenching “Someone You Loved” by Benjamin Kohn, Lewis Capaldi, Peter Kelleher, Samuel Romans and Thomas Barnes. The 'someone' in the song is the person who left her.   She tears into this song with complete disillusionment about how what she conceived to be a perfect relationship fell apart.   What really gnawed at me is the almost  almost emptiness as she cry out for some help as she sings “Now the day bleeds into nightfall.” 

I thought what could Benanti do to make any new changes to the beautiful yet ubiquitous “What Are You Doing The Rest of Your Life?” But wait. The lyrics always struck me as kind of simplistic despite the catchy music, but she brings a very dreamy almost ethereal quality to it. Her last prolonged note really had me.

The Jonas Brothers’ buoyant “Sucker” fits her perfectly  in a similar style they wrote the song about relishing every moment of being with someone who you just cannot get out out of your mind. Whether it be “stumblin’ out of bars” or “dancin’ on top of cars” you get the picture here. She sings it a bit slower which works to her advantage and the unforgettable line  “your the tattoo inside my brain” remains ingrained in your mind. 

Julie London had this smoldering quality in her voice and was the perfect singer to bring out the sexiness of “Go Slow.” That same incredible sexiness is found in Benanti’s rendition which to to call it steamy is a puny description. 

If there is one rendition that left me a tad unsure of how I felt it was the hilariously funny “The Boy From….”first heard in the 60’s  off Broadway revue “The Mad Show.” Written by Stephen Sondheim it is a brilliantly clever parody of “The Girl From Ipanema.” It is impossible to forget Linda Lavin’s adorably kooky interpretation. It’s not that Benanti doesn’t do a good job, I just expected a bit more daffiness especially after know how she handled the manically funny “Model Behavior”  which she sang in the Broadway musical "Women on the Verge of a Breakdown.  Her interpretation of  “Boy” was a bit too tame for me.

There is a lovely and bittersweet quality to her “The Party’s Over.” I am always  taken with the way she embraces each lyric and  here brings out the happiness and sadness of this wonderful song from Comden and Green’s  “Bells Are Ringing.”

Paul Simon’s “50 Ways to Leave Your Lover” is sung with a delightful twang in a country western vein until it ends in what sounds a church chorus. Quite imaginative.

Until we are fortunate enough to see Laura Benanti back on stage again, there are several CD’s in which we can listen to hear her glorious voice. Yet, for me this is her best solo one. 

72 Miles To Go...--So Many Missed Opportunities

       By Joseph Cervelli

The most stunning moment in Hilary Bettis' uninvolving and labored new play "72 Miles To Go...." at the Laura PelsTheatre is the physical transformation that occurs in one of the five characters near the end of the show. You might be tempted, as I, to immediately check your Playbill to see if there was another actor taking over. No makeup change nor prosthetics. Just a few minor alterations, and it was quite amazing. You may find yourself staring at the actor and losing concentration of the dialogue which would not be a huge loss for nothing of much significance is spoken about.

It is hard to conceive of a play that deals with immigration and DACA turning out to be so dull and situations just don't really make a great deal of sense or fully explained.

Billy (Triney Sandoval) is a Unitarian minister who lives with his daughter Eva (Jacqueline Guile) who is about to graduate high school as class valedictorian and son Aaron (Tyler Alvarez) who is apprehensive about entering ninth grade. His other adult adopted son, Christian (Bobby Moreno), who for reasons never delved into has a love/hate relationship with his stepdad Billy plans on moving out to live with his pregnant girlfriend.  Years earlier Billy went into the desert from Tucson where the play takes place to give water to escaping Mexicans from Nogales which is as the title indicates  72 miles away from Arizona. He falls in love with one of the Mexican women, Anita (Maria Elena Ramirez) whom he sees with her young child Christian and marries. Unfortunately, years later she gets deported. There is really no indication as to why Christian has such a dislike for Billy whom we  never see displaying  any animosity towards the young man. I wish Bettis had explored this instead of just having Christian show vindictiveness towards his stepdad.

Much of the play's dialogue is meandering which never amounts to a great deal and situations that never don't really make a lot of sense. Why would Eva who is class valedictorian decide to wait for her mother to return to the States which could take years postpone entering college when it is clear enough she has the ability. With her grades she should be able to qualify for a scholarship, since money is never discussed as an issue preventing her from attending.  Aaron is such a bright young man whose passion is science that when a few years later is granted a scholarship to Berkeley decides to enter the armed services. It is true that Christian whom he clearly emulates was a Marine but things have become more precarious, and it just does not ring true. And while we hear Anita's voice through phone calls which she frequently makes to them for some strange reason the children don't seem as emotionally moved as you would expect. It was as if she was calling from visiting a relative in the next state.

Billy's conversations are filled with inane jokes and Sandoval gives a rather slack, unemotional performance.

The other performances are all acceptable if nothing more under Jo Bonney's uninspired direction.

What is most upsetting is that there was a great opportunity here for a play that would ignite some discussion and move us with what is occurring in our country today. Yet, with the stale jokes from Billy and the innocuous conversations between the kids it just leaves us flat.

Tickets are available at the Roundabout Theatre Company at the Laura Pels Theatre 111 West 46th Street.

PHOTOS: JEREMY DANIEL

Darling Grenadine--A Beautifully Touching New Musical

       By Joseph Cervelli

There is still time to rush over to the Black Box to see one of the best shows of the season, thus far, "Darling Grenadine" with book, music and lyrics by Daniel Zaitchik. His  catchy tunes and insightful lyrics are very reminiscent of Jason Robert Brown. Maybe, not as stylish as Brown. but there is enough here in especially two of his songs that definitely make this composer/ writer worth keeping an eye out for.

It is a bittersweet tale with Harry (a wonderful Adam Kantor) who writes jingles and only one really seems to have made it big--well as big as jingles could go. He is an aspiring songwriter but something  is keeping him back. That "something" sadly is his addiction to alcohol which starts to play a prominent role in the show.

Harry who plays the piano in his brother Paul's  (an always excellent Jay Armstrong Johnson) bar falls in love with a Broadway performer Louise (a superb Emily Walton) who is in the ensemble and hopes as understudy to go on one day. Zaitchik knows very well how those beginnings of any romance begin. You don't see any blemishes that might take place in a continuing  relationship for all are on their best behavior and everything is simply glorious. Oh, that it could always stay that way but in many instances it falls apart. But for Harry his bursting into the infectious "Swell" says it all about how he feels for this young woman. The feelings they have for each other are so believable and their lovely duet "Manhattan" emphasizes the love they feel for each other. It is not long before she does touch something in his jacket pocket which is a flask that sends up signals of his drinking problem.

They both support each other's goals in a career. She wants him to write more songs that could lead to writing for the theater and he devises a plan which does not go over well with her to arrange for her to indeed go on for the star of the show.

The relationship has its ups and downs with an emphasis on the latter. Before you think this is just a depressing run of the mill story about how a love affair can shatter because of alcohol the show is an uplifting one and there are some very clever touches. Zaitchik has included a trumpet player who makes the sounds of Harry's unseen dog named Paul. It is not only amusing but shows the caring person that Harry is. He is just someone whose life has been taken over by drink.

There are two numbers that are standouts. "Suspended" is a stunning number sung by the mellifluous Walton about how Harry's problem has led to a severe dive in their relationship. I don't think I will easily forget "The Kettle Song." Listening carefully to the lyrics it surely conjures up the heavyhearted feelings they have for each other. When Louise sings about letting the tea water boil on low so Harry does not have to leave I felt my own eyes well up with tears.

Kantor who was terrific in "Fiddler on the Roof" and in the Broadway version of "The Band's Visit" really takes off in this show. Yes, he has an excellent voice and his performance is exhilarating. You never for a moment have any doubt who Harry really is and how difficult it is for him to overcome his issues. I had read that he portrayed Jamie in Brown's under appreciated knockout "The Last Five Years." How I wished I had seen in him that role.

Watson meshes perfectly with Kantor and you never doubt their interest in each other as the characters they are portraying. They have a chemistry that works  for the entire show.

Johnson has a fine singing voice so was a tad disappointed the was not given a musical number here.

The incredible dancer and performer Michael Berresse (who can forget him in the 1999 revival of "Kiss Me, Kate")  has the right amount of finesse in his direction and choreography.

There is no real set to speak of except for a movable bar and bed but set designer Tim Mackabee has very effective sketches of New York on what looks like windows around the theater (seating is in the round).

The show may end its run soon, but there is no reason for it not to play around the country. It is too good a show to give a final goodbye to.

Tickets are available at the Harold and Miriam Sternberg Center for Theatre/Black Box Theater 111 West 46th Street.

PHOTOS: JOAN MARCUS

West Side Story--A Staggering Production

        By Joseph Cervelli

The new propulsive "West Side Story"at the Broadway Theater is not, as the saying goes, your parents’"West Side Story." This  brilliantly inventive new production with Belgian  director has Ivo  van  Hove ("The Crucible, "Network," A View From the Bridge") at the helm  is unlike any version you have seen before, and that is what makes it so special. New and different does not always mean better. And I am not trying to infer it is superior to previous productions but his insight into the show makes it so very appropriate in 2020. My fervent hope is that just as "To Kill a Mockingbird" invited 18,000 children to Madison Square Garden to see that show, something similar could be done here. It would be a wasted opportunity not to follow through.

Every moment of this intermissionless production is bristling with tension. Even the first scene where the Jets and Sharks (who are both multi-cultural)  are staring out at the audience almost expressionless you find yourself in rapt attention.  Their faces are projected on the large screen behind them. Yes, I know, van Hove does like projections as was evident very much in "Network." Yet, despite a few minor distractions here and there, it works beautifully and will shortly get into why.

The famous prologue with finger snapping is gone. And it should be. You would not expect kids of today to do that. But wait a second, there is no time period listed and they do use  terms from the original 1957 production, such as, “Daddy-o." The more things change the more they stay the same? Perhaps, that is one aspect of what he was trying to achieve. Slowly opposing groups engage by taunting each other and avant-garde Belgian choreographer Anne Teresa De Keersmaeker has instilled her own style of dance. While not the balletic movements of the original choreographer Jerome Robbins, it does not stray so far away. I still caught some classical movements incorporated with  hip hop styles. Her strong, robust movements are performed beautifully.

The other changes include no "I Feel Pretty," and in this production it would never have fit in. Maria played by a rapturous Shereen Pimentel is not the meek Maria have seen in the past. She is feisty and displays a fierce independence. She knows she is still curtailed by her overprotective brother, Bernardo, played with quiet intensity by Amar Ramasar, but will assert herself as much as she can. Her voice is simply gorgeous and her outburst in the last scene is as if you never heard Maria’s agonizing pain of loss before.

It was an astute move on van Hove's part not to include an intermission for the time of various scenes appears on the screen and would damage the smoothness and ferocity of the structure of this production.

Quite emphatically Isaac Powell has created the best Tony I have ever seen in the various productions  I have attended over the years. There is something so tender and frolicsome about his interpretation. A young man lost in the clutches of those around  him. He possesses a vulnerability and playfulness, such as, in his duet with Maria you see him hiding in the corner in a lovably silly mood. Exactly like you would expect a young man to act when meeting that special person for the first time and knowing there is no other. Besides possessing a wonderfully melodic voice,listen carefully to his rendition of “Maria” and you will never want to hear any past ones. Each time he utters those words there is a different intonation and feeling. It is quite astonishing.

Van Hove has the ability to keep the original dialogue and book intact and make changes that only add to this epochal musical. "Gee, Officer Krupke" once a comical number is deadly serious with Luke Hall"s mesmerizing projections that include officers involved in police brutality and the Jets all taking out their cell phones. Van Hove along with his vital collaborator Jan Versweveld (sets and lighting) have rain falling several times to set the already dark atmosphere that spells tragedy for the characters.

When I mentioned earlier why the projections work so well, let me for a moment take you to the pivotal moment where Maria and Anita (a scorching Yemeni Ayala) sing the heartbreaking "A Boy Like That"/"I Have a Love." You don't see them on stage but rather in Maria's bedroom via the projections. Then they step forward and are the only ones who stand on the expansive stage. Perhaps, van Hove is showing how they are mere specks in the world yet while presenting them prior on the large screen you understand their feelings on a more personal level.With this unique director, I always feel that symbolism is inherent somewhere in his work.

There is not one moment when you don't hold your breath and what makes it work so well is that even though that last scene is so agonizing you desperately hope there could be some hope. It is a staggering production which I urge you to see, maybe even more than once.

PHOTOS: JAN VERSWEYVELD

Tickets are available at the Broadway Theater 1681 Broadway.

Lady G: Plays and Whisperings of Lady Gregory--Irish Rep Again is a Joy to Visit

      By Joseph Cervelli

When you think of famous Irish playwrights, I doubt if Lady Augusta Gregory will be one of the top contenders that comes to mind.  Shaw,  Joyce, O'Casey,  sure. Yet, she was quite a prolific playwright producing over 50 plays based on her wit and verve as you will see in the frolicsome new play based on her writings with additional material written by the iconic director in resident at the Irish Repertory Theatre (if he will permit me to call him that) Ciaran O'Reilly. O'Reilly is one special director who can turn a work dealing with a woman who for many is obscure and make her quite interesting. A large part of this is due to the simply incredibly talented cast of four. At the curtain call it was hard to imagine we were watching just four people on stage playing a number of roles.

The play starts off quite amusingly with Gregory (Una Clancy) announcing that it has been 90 years since she has returned. Jokingly she informs us that she has a contract with the Irish Rep to have her plays produced and might even star in them,

The play does have a slow start with information that might not be of much interest, such as, describing the acres of land around her house and the various dogs. However, it is O'Reilly who infuses it was some very funny lines like her speaking about its resembling "Downton Alley." There are only about two anachronistic terms but provide the right amount of laughter. I especially liked her comment about "going viral."

She introduces us to her nurse, Mary Sheridan (a beautifully nuanced Terry Donnelly) who begins by singing a sweet Irish number about the French landing on the shores to save Ireland. It is always a pleasure to see Donnelly who was in the superlative "O'Casey Cycle."

There are a smattering of other characters mentioned who really don't mean very much unless you have studied Irish history but they are kept at a minimum and don't influence the storytelling. One of the most famous Yeats and well played by a contemplative James Russell would always call her Lady Gregory once she married the well to do Sir William who was a member of the Dublin Parliament. It is evident Yeats had strong feelings for our heroine but kept them at bay. Russell is such a accomplished performer going from the mild mannered Yeats to a scene from Gregory's play which is presented later in the first act. Suddenly this actor turns into a rambunctious curmudgeon.

Gregory goes on to speak about her travels all over the world with Sir William and her affair on one of the travels. When returning back home she starts to take a great interest in the theatre, and it is informative to know how difficult it was to gain a patent in Dublin. It is hampered by the snobbishly wealthy Anne Horniman (Donnelly) whose claim to fame was her grandfather inventing the teabag. The tete a tete between the two women (loved Gregory's calling her a "shilling in a tub of electrified water") comes to an end when Gregory finally gets a patent and a number of plays are finally produced thanks to Gregory using her own money.

At the conclusion of the first act, there is a scene from one of Gregory's plays "The Workhouse Ward" about two old very feisty neighbors who find themselves side by side in a what was then called a poor house. While Rusell is one of the men, John Keating is a perfect ruse as the other one. To say they bicker is a mild understatement. A bit of a problem is that for this scene both actors adopt a heavy brogue which does not always make their dialogue quite clear but they are having a grand old time. It is a joy watching them. And one of the most classic lines is "it is better to be quarreling than to be lonesome."

The second act is livelier with Gregory's admiration and friendship for playwright John Millington Synge whose most famous play "The Playboy of the Western World" was met with shock from the Irish audiences who found it obscene. Gregory was instrumental in bringing it to America where it was met with much disapproval for the same reasons in New York. A combination of stink bombs and rosary beads were flung onto the stage. Thinking of that religious symbol used in such a fashion must have been the height of indignation for those audience members. What saved the play is her meeting Theodore Roosevelt who supported it. To think that a US President at that time in our history supported something deemed vile is quite a credit to him.

What makes Gregory such an interesting playwright is the scene from her play that ends the show "McDonough's Wife." While "Workhouse" was almost slapstick in its humor this one is solemnly serious and moving. It is played to the hilt with ravaged emotion by Keating who just found about about the death of his wife. What makes this scene even more affecting is the small downstairs theatre where the show is playing. Only a few rows separate you from the actors. The agony and despair and anger he displays towards the townspeople who considered his deceased wife an outsider shows on his grieving face and how he copes with the situation is remarkable. One of his last lines reminded me of the last line from James' Joyce's masterpiece "The Dead." If you know that brilliant  film you will remember it seeing this show.

Again, the entire cast performs beautifully. There is not one minute you don't have the feeling you might have crossed the Atlantic and sitting at a small Dublin theater. They switch from character to character with expert ease.

Charlie Corcoran has designed a cozy scene with a fireplace and off to the side of the outside of the house is a large trunk of tree with initiats of famed Irish writers.

It is always a joy visiting the Irish Rep and again my admiration for their work has not diminished.

Tickets are available at the Irish Repertory Studio Theater 132 West 22nd Street.

PHOTO CREDIT: CAROL ROSEGG