Lifestyle
Truth, forgiveness: 'Swept Away' is a theatrical vessel for Avett Bros' music
With songs by The Avett Brothers, Swept Away is inspired by the true story of an 19th century shipwreck in which seamen resorted to cannibalism to survive.
Julieta Cervantes/Arena Stage
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Julieta Cervantes/Arena Stage
With songs by The Avett Brothers, Swept Away is inspired by the true story of an 19th century shipwreck in which seamen resorted to cannibalism to survive.
Julieta Cervantes/Arena Stage
The musical Swept Away, set to songs by The Avett Brothers, received rave reviews when it premiered at Berkeley Repertory Theatre in early 2022. Now showing at Arena Stage in D.C., it’s garnering the same kind of attention.
And with a cast and crew behind the production that have collectively won nine Tony Awards, there’s hope the musical will head to Broadway.
Starring Tony Award winner John Gallagher, Jr., Adrian Blake Enscoe and Tony nominated actor Stark Sands, Swept Away premiered at the Berkeley Repertory Theatre.
Berkeley Rep
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From a book to an album to the stage
In the early 2000s, Scott Avett’s dad recommended he read Neil Hanson’s The Custom of the Sea, a true story about a shipwreck off the coast of Africa in 1884. Avett, who grew up in Concord, N.C., says his dad “loves non-fiction survival stories and so this was one of those those books.”
Hanson recounts the horrific experiences of four men adrift in a dinghy for 19 days in the burning sun in the middle of the ocean on the verge of starvation. In life or death situations, the “custom of the sea” permitted sacrificing one to save the rest.
Stark Sands (L) and Adrian Blake Enscoe play brothers in Swept Away, a new musical featuring songs by the Avett Brothers.
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Stark Sands (L) and Adrian Blake Enscoe play brothers in Swept Away, a new musical featuring songs by the Avett Brothers.
Julieta Cervantes/Arena Stage
As Hanson explains, Captain Tom Dudley made the decision to kill the weakest among them. When they were finally rescued, he told the truth and then stood trial for murder. Dudley’s “misfortune was that the British government were determined to outlaw the custom of the sea and his honesty gave them their chance, and they bent and even broke the law to do so,” says Hanson in an email.
Scott Avett says he was moved by the captain’s honesty, even though it meant confessing to a heinous act, “Because at the end…although the truth was the right thing, it was going to be a cause of suffering.”
More than a decade after The Avett Brothers’ 2004 album Mignonette was released, they got a call proposing to turn it into a musical. “It made perfect sense because I visualize these things as whole stories,” Avett says.
There are some key differences between the story of the Mignonette and the musical. Among other things, the whaling ship sinks off the coast of New Bedford, Mass. The character who first proposes killing an ailing crew member is called simply the “Mate.”
Unlike Captain Dudley, the Mate doesn’t believe in God and admits he’s lead a life of sin. He sings The Avett Brothers’ song “Satan Pulls The Strings.” By contrast, the character Big Brother is deeply religious and sings the only song the Avetts wrote specifically for the show, “Lord Lay Your Hand On My Shoulder.”
‘Swept Away’ built from pieces of The Avett Brothers’ overall catalogue
In Swept Away, the Mate, played by Tony winning actor John Gallagher, Jr., is haunted by the sins of his past.
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In Swept Away, the Mate, played by Tony winning actor John Gallagher, Jr., is haunted by the sins of his past.
Julieta Cervantes/Arena Stage
John Logan, whose credits include the movies Skyfall and Gladiator and winning a Tony Award for Red, was brought in to craft the story out of The Avett Brothers’ songs. He was thrilled to tackle big themes like redemption and forgiveness, and says: “I hope Swept Away says to the audience, ‘What would you do if you were one of these four men in this lifeboat after 21 days?’”
Logan knew some of The Avett Brothers’ music but says he now pored over their entire catalogue.
“I was just struck by the poetry of their lyrics, by the intensity of the music, and by the way they could explore different characters through songs and that’s what musicals do,” he recounts. “I went to them and I said, ‘Look, can you give me permission to use any of your songs? And if you don’t like how I’m using them, we’ll discuss it. And they said, ‘Great.’”
“No Hard Feelings” is one of the songs included in the musical Swept Away.
The Avett Brothers
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Actor and singer Adrian Blake Enscoe plays Little Brother in Swept Away. He’s also in the indie-folk-pop-americana group Bandits On The Run. He says The Avett Brothers’ catalogue is “incredible for this tale of morality and mortality, wrestling with darkness and light and faith and what is my meaning.”
When Scott Avett first saw the production on stage, “I thought, ‘These guys can sing way better than me,’” he laughs. “They have more control than I’ll ever have and I think it’s beautiful.”
‘Nothing that is human is alien to me’
In Swept Away, the Mate is haunted by his sins. Actor and singer Stark Sands, who plays Big Brother, believes the musical’s themes of reckoning with the truth and seeking forgiveness continue to plague humanity.
Stark Sands (L) and Adrian Blake Enscoe perform “Murder In The City,” one of The Avett Brothers’ songs in the musical is “Murder In The City.”
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“I think that right now we’re living at a time when there are some people who don’t want to face the past,” Sands says. “They don’t want to acknowledge the sort of awful things that we have done as a race, as a nation… This man that we are following in the story, the Mate, he’s done some horrible things that he admits to over the course of the play and all we’re asking him to do is just say them out loud.”
For John Logan, Swept Away is about having empathy for all, including “those who have sinned.” Over his computer are the words: “Nothing that is human is alien to me,” a translation of a famous quote that is linked to the Roman playwright Terence but has been used by the philosopher Seneca and others subsequently.
“So when I look at the actions of the Mate in this story, I say he’s a human being just like I am, and I’m capable of the same exaltation, the same joy, the same degradation, and the same violence, because nothing that is human is alien to me,” he says.
This story was edited for broadcast and digital by Meghan Collins Sullivan and produced for radio by Isabella Gomez-Sarmiento.
Lifestyle
Chaos Gardening: A Laid-Back Way to Garden
Annuals include flowers like marigolds and nasturtiums. They grow fast but won’t come back the next spring (though they will drop seeds and possibly propagate). Perennials like lavender and sage will return year after year, but they may take longer to grow. Wildflower and pollinator packets often contain both annual and perennial seeds but are frowned upon by some serious gardeners, because the selection can be haphazard and ill-suited to the area.
It’s a good idea to exercise a little situational awareness. How much rain can you expect? How much sunlight? Dig the earth and feel it between your fingers — is it sandy? Loamy? These are things to keep in mind as you prepare for your journey into horticultural chaos.
“You want to prepare your soil, your site, at least a little bit,” said Deryn Davidson, a sustainable landscape expert at Colorado State University Extension in Longmont, Colo. “Try to get rid of weeds. Make sure the soil is ready to receive seeds.”
Davidson, who has written about chaos gardening, strongly advised covering the seeds with a layer of soil, lest they become bird food. As for watering, that depends on where you live, she added. On the whole, though, the formula is straightforward: “Soil, sun and water is what these seeds need,” Davidson said.
Not everyone is a fan of the trend, or at least the way it has been portrayed on social media. “Nature is not chaos — nature is pattern,” said Robin Wall Kimmerer, a botanist and the author of “Braiding Sweetgrass,” which recommends imbuing modern life with Indigenous wisdom.
“It seems unrealistic,” Kimmerer said of the chaos gardening videos she has watched. The feeling of effortlessness they convey — a common social media effect, almost always the result of deft editing — seems to elide the work that goes into a garden, whether chaotic or not, she suggested.
“I want my garden to be natural and biodiverse,” she said. “That’s a good impulse. I don’t think this technique is going to get you there, but that’s an important impulse.”
Boitnott, the maker of the viral video, offered a simple reason for why chaos gardening has become popular: “It just makes you happy.”
Lifestyle
What is an eye massage? We tried it at this under-the-radar L.A. spot
Admission: I suffer from eyestrain. Even right this very second. As a reporter working on a computer more than eight hours most days, my eyes often feel fatigued and itchy by evening.
I’m not alone: More than half of the U.S. population lives with computer vision syndrome, also known as digital eyestrain, and nearly 16.4 million Americans suffer from dry eye syndrome. So I was especially excited to stumble on New Vogue Spa, in the City of Industry, which offers a relaxing, if intriguing, treatment called “Eyeball Care” — something I’d never heard of before at a day spa.
New Vogue Spa is an Asian-style spa with Korean and Chinese influences. The spa’s offerings include massages and body scrubs — I was curious about the “Red Wine Body Scrub” — but I couldn’t help exploring eyeball care, which was much needed after my 50-minute drive from Silver Lake. (The City of Industry is about 30 minutes from downtown L.A. without heavy traffic.)
So it came to be that I found myself lying on a massage table, wearing what looked like protruding diving goggles, with clouds of cool, aromatic steam oozing from both sides of it and engulfing my face. A spindly plastic tube extended from my forehead to the “Eye Spa” machine. Serene spa music, a blend of classical piano and loudly chirping birds, trilled in the background as the machine sloshed and gurgled. It felt like lying, creekside, in a spa robe wrapped in a blanket of chamomile and rosemary-scented fog.
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As my esthetician, Jenny Chen, adjusted the eye mask and added essential oils to the mist, New Vogue manager Lesley Xie explained that the 60-minute, $125 Eyeball Care treatment aims to hydrate and stimulate blood circulation in the eye area, decrease puffiness and dark circles and aid eye fatigue and dry eye syndrome.
“It’s really helpful for overall eye health for people who are on computers for a long time or sleep really late or who are reading a lot,” she said.
1. The Eyeball Care treatment included a mask filled with cool, aromatic steam to help relieve fatigued eyes. 2. Slippers in the Himalayan Salt Room.
Xie said that eyeball care treatments are common in China. When she was growing up in Guangdong in Southern China, elementary school students were given a break every afternoon to perform “eye exercises,” which involved gently massaging pressure points around their eye areas, for 5-10 minutes.
“It released eye stress because we studied from eight o’clock in the morning until almost noon time,” she said. “It was a break for our eyes to prevent nearsightedness and tired eyes.”
New Vogue Spa’s treatment was supremely relaxing from the onset — part Head Spa, part facial, part eye care. Chen began by massaging my scalp for about 10 minutes, as I tried not to fall asleep.
Next she cleaned my face, applied massage cream and gently massaged my face and eye area, manipulating the outer corners of my eye sockets as well as under my brow bones and on my temples. She was precise and firm but careful — as she pressed on the outside corner of my eye, I felt tension draining down the side of my cheek and neck.
Esthetician Jenny Chen conducts “Golden Eye therapy” on reporter Deborah Vankin.
Xie said the massage is based on traditional Chinese medicine, focusing on stimulating acupressure points around the eyes.
“Gentle massage of these areas is believed to help promote blood circulation, relax the muscles responsible for focusing and relieve visual fatigue,” she said. “While it’s not a medical treatment for vision conditions, it’s widely used as a preventative and restorative method.”
The massage was followed by “Golden Eye therapy,” during which Chen used an electronic device on my face with a metal roller ball on it. It uses “ultrasonic vibration technology,” Xie said, to help the skin absorb the applied moisturizing cream and combat eye puffiness.
The main event was the “cooling steam therapy,” which Xie said was meant to be calming and refreshing and help relieve tired eyes. Chen fitted me with what looked like an enormous diving mask that quickly filled with cool, hydrating mist — I felt droplets of water dripping from my eyes and down my cheeks. The Eye Spa machine uses a “cold mist atomization process,” Xie said, “that disperses micro-particles of moisture combined with soothing essential oils.”
At the end of my treatment, Chen gave me under-eye gel pad masks, for added hydration, while conducting one last head massage. She applied moisturizing eye cream, face cream and sunscreen before sending me off.
Dr. Kristina Voss, an ophthalmologist with Keck Medicine of USC, was enthusiastic about the Eyeball Care treatment.
“It sounds wonderful. Anything that makes you feel good, I generally support,” she said. “It sounds safe because they’re not putting pressure on the eye. Direct pressure on the eyeball [is dangerous]. And I’d be nervous if they were putting something in the eye, but they’re not. Steam, or even cool condensation from a humidifier, is effective for dry eye. Massaging pressure points probably doesn’t treat dry eye, but could potentially treat eyestrain or tension headaches that can be interpreted as eyestrain.”
Los Angeles Times features writer Deborah Vankin inspects her eyeballs after her treatment.
Temporary relief aside, however, Voss warned that the treatment is not a replacement for seeing a doctor if a condition is ongoing.
“It’s relaxing and complementary to a doctor’s dry eye treatments — like medicated drops or in-office treatments — but it’s not a simple fix or cure all,” she said. “Ongoing doctor’s care would be important.”
After my treatment, I was invited to linger in the co-ed Himalayan Salt Room and Red Clay Room or woman-only spa area, complete with a warm soaking tub, lounge area and treatment rooms for body scrubs. (I skipped the adjacent New Vogue MedSpa, where you can get botox, dermal filler or microneedling treatments.)
Guests are also treated to a cup of homemade snow fungus tea (made from tremella mushrooms) with a single jujube, or red, date, floating inside. New Vogue makes a fresh batch every morning for guests, simmering the collagen-rich drink so long it becomes somewhat gelatinous.
1. The Himalayan Salt Room. 2. The co-ed lounge area. 3. The Red Clay Room.
“Snow fungus focuses on deep hydration and skin plumping, while red dates support circulation and a healthy glow,” Xie said, calling the concoction “a warm bowl of snow fungus and red date soup.”
I can’t speak to the medicinal benefits of snow fungus tea. But after a glass of the warm, woody-tasting drink — together with the hour-long tension-taming eye treatment — I saw the world in a whole new way while walking out the door: clearly, from a relaxed perspective and with the bigger picture in focus.
Lifestyle
A Monument to Chocolate Is Wrapped in Layers of Mexican History
This article is part of our Design special section on retrofits.
In Mexico City’s urban core, history runs deep. Beneath the 19th-century buildings erected after Mexico’s independence and the Baroque structures that remain from the Spanish colonial city lie the ruins of the Aztec capital of Tenochtitlan.
Preserving historical structures in the city center is dauntingly complicated said Javier Sánchez, whose architectural firm JSa recently retrofitted a 17th-century house steps from the Zócalo, the main square. What spurred him to take on the project? Chocolate.
“Cacao offers this connection between past and present,” said Agustín Otegui, whose family was involved in commissioning JSa in 2013 to turn the three-story building into the city’s Museum of Cacao & Chocolate. (The institution is part of a network in the Americas and Europe that are devoted to the history of chocolate.) Speaking in a video interview, he added, “You have this bean that was used by the Maya and Aztecs, and now it’s a daily delicacy. It’s a link to the past that keeps going.”
Having designed an extension of the Spanish Cultural Center a few doors from the museum, JSa was familiar with the complexities of working in the historic core. In that project, which was completed in 2012, the ruins of a pre-Hispanic school for the nobility were uncovered on the site. Now, the architects, extrapolating from Spanish maps of Tenochtitlan, had reason to believe that they would encounter another such ancient structure.
Supporting this hypothesis was the 17th-century building’s slant, Aisha Ballesteros, the JSa partner who led the museum’s design, said in a video interview. Many buildings in Mexico City are sinking because of the gradual settling of the underground lake bed; the angle in this particular case suggested that there was something below ground propping it up.
That something turned out to be what the Mexican government describes as one of the country’s most important archaeological finds: a section of a tzompantli, or wooden rack
displaying more than 650 human skulls belonging to people who were believed to have been
sacrificed in the 15th-century reign of the Aztec kings Itzcoatl, Ahuízotl, and Moctezuma
Ilhuicamina. Other tzompantlis have been discovered, but this one — the Huei, or great, Tzompantli — is the biggest and best preserved.
What followed was an 11-year effort to excavate and stabilize the Huei Tzompantli below ground while working on the colonial building above. What’s more, the architects designed a five-story museum addition — one of just a handful of contemporary structures built in the historic quarter in the last two decades — to fill the empty space behind the 17th-century building.
“We were facing three important histories,” Ballesteros said. “Ours, the pre-Hispanic and the colonial one. It was important for us to remember that we are only a small part of this 500-year timeline.”
The design centered on a plan to safely showcase the ancient skull rack and let the colonial building shine, with the contemporary building conceived as a quiet presence where additional museum programs could be housed.
After stabilizing the colonial building — Ballesteros said it was like placing footings underneath the legs of a table that is wobbling — builders sank 100-foot-deep pilings to establish a solid foundation for the new structure. This contemporary building was clad in local, sand-colored travertine, a nod to the volcanic stone composing much of the historic center’s architecture and a quiet presence among the more venerable showplaces.
The two museum structures come close, but never touch. “We separated the new building so that you could see the historic walls, but also because of seismic requirements,” Ballesteros said. In many places, the contemporary addition’s right angles draw attention to the colonial building’s tilt. “It becomes a play between old and new, crooked and straight.”
Between them is a courtyard that allows anyone to pick up a beverage from the cacaotería — a chocolate and coffee shop at the museum’s street level — and catch a glimpse of the chefs making chocolate in the nearby prep kitchen. An open-air corridor illuminated by hand-hammered copper light fixtures leads to a courtyard with shade trees and seating. Eventually, visitors will be able to view the ancient skull rack through a window next to the ticket office.
Those with tickets can visit the exhibitions that start on the second level, tracing the history of cocoa from its Mayan roots to the chocolate we consume today. The circulation path moves from within the building to outdoor terraces, allowing visitors to take in the architecture from different perspectives.
There, as in the rest of the museum, can be seen the layered architectural fabric making up the city’s past and present.
“The project showcases Mexico’s richness of heritage without making our contemporary heritage any less important,” Sánchez said. “It is possible to recuperate our history, but also make our city be alive at the same time.”
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