Reputed mob boss Joseph "Joey the Clown" Lombardo was sentenced Monday to life in federal prison for serving as a leader of Chicago's organized crime family and the murder of a government witness in a union pension fraud case.
Lombardo, 80, was among three reputed mob bosses and two alleged henchmen convicted in September 2007 at the landmark Operation Family Secrets trial which lifted the curtain of secrecy from the seamy operations of Chicago's underworld.
"The worst things you have done are terrible and I see no regret in them," U.S. District Judge James B. Zagel said in imposing sentence. He also sentenced Lombardo separately to 168 months for going on the lam for eight months after he was charged.
Lombardo grumbled that he had been eating breakfast in a pancake house on Sept. 27, 1974, when ski-masked men beat federal witness Daniel Seifert in front of his wife and 4-year-old son and then shot him to death at point-blank range.
"Now I suppose the court is going to send me to a life in prison for something I did not do," Lombardo said. He said he was sorry for the suffering of the Seifert family but added: "I did not kill Danny Seifert."
In a last-minute effort to bolster his alibi, he read from two documents signed by Hollywood private eye Anthony Pellicano, now serving a 15-year sentence for wiretapping stars such as Sylvester Stallone and bribing police to run names through law enforcement databases. Pellicano was originally from Chicago.
Lombardo was one of the best-known figures in the Chicago underworld. His lawyer, Rick Halprin, told jurors during the trial that he merely "ran the oldest and most reliable floating craps game on Grand Avenue" but was not a killer.
Witnesses said he was the boss of the mob's Grand Avenue street crew — which extorted "street tax" from local businesses and engaged in other illegal activities.
He was sent to federal prison along with International Brotherhood of Teamsters President Roy Lee Williams and union pension manager Allen Dorfman after they were convicted of plotting to bribe U.S. Sen. Howard Cannon, D-Nev., to help defeat a trucking deregulation bill. Cannon was charged with no wrongdoing in the case.
Lombardo was later convicted in a Las Vegas casino skimming case.
Seifert was gunned down two days before he was due to testify before a federal grand jury. His two sons spoke at the sentencing about the pain of losing their father when they were still children.
Joseph Seifert recalled how he saw mobsters "chase my father like a pack of hungry animals" before shooting him.
Nicholas Seifert said that he succumbed to depression over the killing. "I felt like a coward for many years for not seeking revenge for what those men did to my father," he said.
Lombardo used a wheelchair in court. Halprin declined to say what health problems his client has but said he needed to be sent to a prison where he would get adequate medical care.
Zagel acknowledged that he thought carefully about Lombardo's age in deciding on a sentence. But he said he wanted one that would not "deprecate the seriousness of the crime."
Zagel has already sentenced Calabrese to life and reputed mobster Paul Schiro to 20 years. Schiro was sentenced to 5 1/2 years in prison seven years ago after pleading guilty to being part of a gang of jewel thieves run by the Chicago police department's former chief of detectives.
Still to be sentenced are James Marcello, reputedly one of the top leaders of the mob, and Anthony Doyle, a former Chicago police officer who became an enforcer for Frank Calabrese. Also still to be sentenced is Nicholas Calabrese, Frank's brother and an admitted hit man who became the government's star witness.
Thanks to Mike Robinson
Tuesday, February 03, 2009
Mob Museum Taking Some Hits
Las Vegas’ proposed mob museum has taken some hits of its own in recent weeks, targeted on late-night talk shows and Capitol Hill as an absurd showcase for the likes of Benjamin “Bugsy” Siegel, Meyer Lansky and Anthony “Tony the Ant” Spilotro.
Museum backers say the critics don’t get it. This won’t be some sideshow exhibit celebrating the mob’s role as a storied part of Las Vegas’ past. Rather, it will offer a serious examination of organized crime and law enforcement’s efforts to combat it.
During this episode, the underlying message received by those planning the museum was clear: As they move forward, they need to be ever careful about the museum’s image.
“We want it to be serious and we want it to be balanced, but we need it to have appeal,” said Dale Erquiaga, a museum board member. “It’s always on our minds as planners that we stay right on that line,” said Erquiaga, formerly an advertising strategist with R&R Partners. “It’s in every conversation we have.”
Most cities, it’s fair to say, would have cringed at the contemptuous national attention the mob museum received. Stand-up comedian Lewis Black said on “The Daily Show” on Jan. 14: “A mob museum? I thought Las Vegas already was a mob museum!”
And yet, the museum may have been aided by the dust-up, which Mayor Oscar Goodman and other museum proponents boasted likely resulted in more than $7 million worth of free publicity.
Several of the 13 board members of the 300 Stewart Avenue Corp., the nonprofit group working with the city on the project, likewise said in recent interviews that they are pleased with the museum’s progress, in terms of fundraising, collecting exhibits, and simply raising awareness of the museum’s mission.
A big part of that awareness-raising, as several board members pointed out, is making sure the public knows that the museum will be going out of its way not to glorify the Mafia.
“You have a very significant number of people in town who don’t want to glorify the mob. I count myself among them,” said board member Alan Feldman, senior vice president of pubic affairs for MGM Mirage. “There isn’t a sympathizer, if you will, among us,” he said, including fellow board member Goodman, a former attorney who zealously defended several vicious local figures.
According to Feldman and other board members, the marketers for the museum are doing everything they can to straddle the line between avoiding the mob’s glorification and keeping the museum and its exhibits interesting and entertaining. That struggle was reflected in a rough-draft museum brochure, which will be used to raise funds, garner exhibits or both, Feldman said.
On one page, the words “City Planner or Gangster?” were superimposed over a large black-and-white photo of mobster Bugsy Siegel. On another, “Tax Revenue or Skim?” is written over a photo of a spinning roulette wheel with gamblers in the background.
Feldman said that struggle was also reflected in the museum’s naming, which was finalized last spring at a meeting in City Hall.
After a long debate, consensus was reached on both a brand name — the mob museum — as well as the longer, more complete institutional name — The Las Vegas Museum of Organized Crime and Law Enforcement — which was to show that the museum’s purpose was equally to tell the story of the police and G-men who chased, and ultimately brought down, the mob.
“My motivation for volunteering on this project was to ensure that law enforcement, in particular the FBI, would be fairly and accurately represented,” said Ellen Knowlton, head of the 300 Stewart Avenue Corp., and the former special agent in charge of the local FBI field office, in a statement. “I also wanted to make sure that the lifestyle of those involved with organized crime would be accurately depicted and not ‘glamorized.’ ”
Though Goodman said that he wanted as much federal stimulus money as he could get for the museum, plans for the project shouldn’t be altered if none is forthcoming, officials say.
According to city officials, the museum has raised about $15 million so far, including $3.6 million in federal grants and another $3.5 million in state and local grants.
The museum has a $50 million price tag. Ultimately, according to a museum fact sheet, that will include $7 million in grants and $8 million in city funds, with the remaining $35 million to come from bonds from the city’s redevelopment agency.
Construction on the interior of the city-owned museum building — the old three-story post office and federal courthouse building downtown — is set to kick off this spring. The city is hoping for an opening date of sometime in 2010.
Looking at some of the exhibits the museum has lined up, it’s difficult to say whether preventing the mob’s glorification will be something easily achieved.
At a charity auction in June at Christie’s in New York, a mob-museum-contracted designer spent $12,450 to purchase four artifacts from the blockbuster HBO series “The Sopranos.”
Included among the items was the black leather jacket, knit shirt and black slacks Tony Soprano wore in one of the series’ final episodes, “The Blue Comet.”
In the episode, actor James Gandolfini wore the outfit as he went to sleep clutching an AR-15 machine gun that his brother-in-law, Bobby, who had just been shot to death, gave him as a birthday present.
Thanks to Sam Skolnik
Museum backers say the critics don’t get it. This won’t be some sideshow exhibit celebrating the mob’s role as a storied part of Las Vegas’ past. Rather, it will offer a serious examination of organized crime and law enforcement’s efforts to combat it.
During this episode, the underlying message received by those planning the museum was clear: As they move forward, they need to be ever careful about the museum’s image.
“We want it to be serious and we want it to be balanced, but we need it to have appeal,” said Dale Erquiaga, a museum board member. “It’s always on our minds as planners that we stay right on that line,” said Erquiaga, formerly an advertising strategist with R&R Partners. “It’s in every conversation we have.”
Most cities, it’s fair to say, would have cringed at the contemptuous national attention the mob museum received. Stand-up comedian Lewis Black said on “The Daily Show” on Jan. 14: “A mob museum? I thought Las Vegas already was a mob museum!”
And yet, the museum may have been aided by the dust-up, which Mayor Oscar Goodman and other museum proponents boasted likely resulted in more than $7 million worth of free publicity.
Several of the 13 board members of the 300 Stewart Avenue Corp., the nonprofit group working with the city on the project, likewise said in recent interviews that they are pleased with the museum’s progress, in terms of fundraising, collecting exhibits, and simply raising awareness of the museum’s mission.
A big part of that awareness-raising, as several board members pointed out, is making sure the public knows that the museum will be going out of its way not to glorify the Mafia.
“You have a very significant number of people in town who don’t want to glorify the mob. I count myself among them,” said board member Alan Feldman, senior vice president of pubic affairs for MGM Mirage. “There isn’t a sympathizer, if you will, among us,” he said, including fellow board member Goodman, a former attorney who zealously defended several vicious local figures.
According to Feldman and other board members, the marketers for the museum are doing everything they can to straddle the line between avoiding the mob’s glorification and keeping the museum and its exhibits interesting and entertaining. That struggle was reflected in a rough-draft museum brochure, which will be used to raise funds, garner exhibits or both, Feldman said.
On one page, the words “City Planner or Gangster?” were superimposed over a large black-and-white photo of mobster Bugsy Siegel. On another, “Tax Revenue or Skim?” is written over a photo of a spinning roulette wheel with gamblers in the background.
Feldman said that struggle was also reflected in the museum’s naming, which was finalized last spring at a meeting in City Hall.
After a long debate, consensus was reached on both a brand name — the mob museum — as well as the longer, more complete institutional name — The Las Vegas Museum of Organized Crime and Law Enforcement — which was to show that the museum’s purpose was equally to tell the story of the police and G-men who chased, and ultimately brought down, the mob.
“My motivation for volunteering on this project was to ensure that law enforcement, in particular the FBI, would be fairly and accurately represented,” said Ellen Knowlton, head of the 300 Stewart Avenue Corp., and the former special agent in charge of the local FBI field office, in a statement. “I also wanted to make sure that the lifestyle of those involved with organized crime would be accurately depicted and not ‘glamorized.’ ”
Though Goodman said that he wanted as much federal stimulus money as he could get for the museum, plans for the project shouldn’t be altered if none is forthcoming, officials say.
According to city officials, the museum has raised about $15 million so far, including $3.6 million in federal grants and another $3.5 million in state and local grants.
The museum has a $50 million price tag. Ultimately, according to a museum fact sheet, that will include $7 million in grants and $8 million in city funds, with the remaining $35 million to come from bonds from the city’s redevelopment agency.
Construction on the interior of the city-owned museum building — the old three-story post office and federal courthouse building downtown — is set to kick off this spring. The city is hoping for an opening date of sometime in 2010.
Looking at some of the exhibits the museum has lined up, it’s difficult to say whether preventing the mob’s glorification will be something easily achieved.
At a charity auction in June at Christie’s in New York, a mob-museum-contracted designer spent $12,450 to purchase four artifacts from the blockbuster HBO series “The Sopranos.”
Included among the items was the black leather jacket, knit shirt and black slacks Tony Soprano wore in one of the series’ final episodes, “The Blue Comet.”
In the episode, actor James Gandolfini wore the outfit as he went to sleep clutching an AR-15 machine gun that his brother-in-law, Bobby, who had just been shot to death, gave him as a birthday present.
Thanks to Sam Skolnik
Monday, February 02, 2009
Mobster, Joey "The Clown" Lombardo, Gets Life in Prison
Mobster Joey "the Clown" Lombardo, one of the five Outfit associates convicted in the landmark Family Secrets trial that riveted Chicago for weeks with its lurid testimony about 18 decades-old gangland slayings, was sentenced to life in prison this afternoon.
U.S. District Judge James Zagel levied the sentenc after the aging mob boss addressed the court in a gravelly voice and denied having anything to do with the Seifert murder.
The judge said that unlike co-defendants in case, Lombardo showed some balance in judgment and some ability to charm people. But in the end, defendants must be judged by their actions, "not about our wit and our smiles," Zagel said. "The worst things you have done are terrible, and I see no regret in you," the judge told Lombardo in handing down the life sentence.
Lombardo, the wisecracking elder statesman of the mob, and four other defendants were found guilty in 2007 of a racketeering conspiracy that stretched back to the 1960s and included extorting "street taxes," collecting high-interest "juice" loans, running illegal gambling operations and using violence and murder to protect the mob's interests.
He also was found guilty of the 1974 murder of federal witness Daniel Seifert and of obstructing justice by fleeing from authorities after his indictment. He faced a maximum sentence of life in prison.
Lombardo was sent to federal prison in the 1980s for conspiring with International Brotherhood of Teamsters President Roy Lee Williams and union pension fund manager Allen Dorfman to bribe Sen. Howard Cannon (D-Nev.) to help defeat a trucking deregulation bill. Cannon was never charged with any wrongdoing and the bill became law with his support.
When Lombardo got out, he resumed life as the boss of the mob's Grand Avenue street crew, prosecutors said. He denied it. but his attorney, Rick Halprin, told the trial he ran "the oldest and most reliable floating craps game on Grand Avenue."
When the Family Secrets indictment was unsealed, Lombardo went on the lam for nine months. He ultimately was brought before U.S. District Judge James Zagel.
Two of Lombardo's co-defendants were sentenced last week. Paul "the Indian" Schiro got 20 years for the racketeering conviction, and Frank Calabrese Sr. got life for racketeering and for seven murders.
James Marcello, once called Chicago's mob boss by authorities, is scheduled to be sentenced Thursday.
U.S. District Judge James Zagel levied the sentenc after the aging mob boss addressed the court in a gravelly voice and denied having anything to do with the Seifert murder.
The judge said that unlike co-defendants in case, Lombardo showed some balance in judgment and some ability to charm people. But in the end, defendants must be judged by their actions, "not about our wit and our smiles," Zagel said. "The worst things you have done are terrible, and I see no regret in you," the judge told Lombardo in handing down the life sentence.
Lombardo, the wisecracking elder statesman of the mob, and four other defendants were found guilty in 2007 of a racketeering conspiracy that stretched back to the 1960s and included extorting "street taxes," collecting high-interest "juice" loans, running illegal gambling operations and using violence and murder to protect the mob's interests.
He also was found guilty of the 1974 murder of federal witness Daniel Seifert and of obstructing justice by fleeing from authorities after his indictment. He faced a maximum sentence of life in prison.
Lombardo was sent to federal prison in the 1980s for conspiring with International Brotherhood of Teamsters President Roy Lee Williams and union pension fund manager Allen Dorfman to bribe Sen. Howard Cannon (D-Nev.) to help defeat a trucking deregulation bill. Cannon was never charged with any wrongdoing and the bill became law with his support.
When Lombardo got out, he resumed life as the boss of the mob's Grand Avenue street crew, prosecutors said. He denied it. but his attorney, Rick Halprin, told the trial he ran "the oldest and most reliable floating craps game on Grand Avenue."
When the Family Secrets indictment was unsealed, Lombardo went on the lam for nine months. He ultimately was brought before U.S. District Judge James Zagel.
Two of Lombardo's co-defendants were sentenced last week. Paul "the Indian" Schiro got 20 years for the racketeering conviction, and Frank Calabrese Sr. got life for racketeering and for seven murders.
James Marcello, once called Chicago's mob boss by authorities, is scheduled to be sentenced Thursday.
Memo to Mobsters: Don't "Adopt" Anyone - He May Turn Out to be a Rat
Memo to mobsters: Don't "adopt" anyone - he may turn out to be a rat.
John A. (Junior) Gotti learned that the hard way with "adopted" son Lewis Kasman, who taped Gotti family meetings for the feds.
Reputed killer Charles Carneglia is about to get a taste of the same medicine with "adopted" kid brother Kevin McMahon.
Both mob turncoats are to testify in Carneglia's ongoing murder trial in Brooklyn Federal Court.
Kasman, a former Long Island garment exec who wormed his way into Gotti's inner circle and called himself the adopted son of the late Gambino crime boss, wasn't close to Carneglia.
McMahon was as close as you can get without being a relative. "When Kevin walks into that courtroom I would expect Charles will want to jump over the table and strangle him," a law enforcement official said.
McMahon was not only a member of Carneglia's crime crew, he was like a member of the Carneglia family.
In 1980, McMahon was a 12-year-old Irish kid from Howard Beach "at the beginning of his long and extraordinarily close relationship" with Charles Carneglia and his brother John, court papers show. McMahon is 20 years younger than Charles, 62, and John, 64.
On a fateful day in March, McMahon lent his minibike to mob scion Frank Gotti who was accidentally hit and killed by neighbor John Favara as he drove home from work. Favara was slain on Gotti's orders and, prosecutors say, Charles Carneglia dissolved his body in a barrel of acid.
Before the incident, McMahon had been "informally adopted" by John and Charles Carneglia. Charles Carneglia promised to protect the lad from retaliation for his role in Frankie's death.
McMahon was treated as a member of the Carneglia family, living with them for long stretches, attending family dinners and going on Carneglia family vacations, Assistant U.S. Attorney Roger Burlingame said.
Former capo Michael DiLeonardo has testified that McMahon was a "goofy kid" who taunted FBI agents, running up to them and grabbing his crotch.
McMahon had jobs with Local 638 steamfitters union and Local 52 motion pictures mechanics union, but those paid only $40,000 a year, chump change for a wanna-be Gambino associate with an ailing wife and two kids.
Prosecutors say he and Carneglia took part in extortions, art fraud and robberies, including the stickup of an armored car at Kennedy Airport in 1990 in which guard Jose Rivera Delgado was shot to death. McMahon dropped a baseball cap at the scene. DNA tests linked him to a strand of hair in the hat.
Shortly after he was arrested in 2005 on an indictment charging him with racketeering for the Gambinos in Tampa, McMahon sent a "thank you" letter to Brooklyn Magistrate Robert Levy for releasing him on bail.
"As I was leaving the courtroom you said to me, 'Don't let me down.' I assure you I have not," he wrote. "As soon as I'm acquitted I'll write you again."
McMahon turned on his adoptive mob family after he was convicted and faced 20 years behind bars. He is cooperating in hopes of winning a lesser prison term.
Thanks to John Marzulli
John A. (Junior) Gotti learned that the hard way with "adopted" son Lewis Kasman, who taped Gotti family meetings for the feds.
Reputed killer Charles Carneglia is about to get a taste of the same medicine with "adopted" kid brother Kevin McMahon.
Both mob turncoats are to testify in Carneglia's ongoing murder trial in Brooklyn Federal Court.
Kasman, a former Long Island garment exec who wormed his way into Gotti's inner circle and called himself the adopted son of the late Gambino crime boss, wasn't close to Carneglia.
McMahon was as close as you can get without being a relative. "When Kevin walks into that courtroom I would expect Charles will want to jump over the table and strangle him," a law enforcement official said.
McMahon was not only a member of Carneglia's crime crew, he was like a member of the Carneglia family.
In 1980, McMahon was a 12-year-old Irish kid from Howard Beach "at the beginning of his long and extraordinarily close relationship" with Charles Carneglia and his brother John, court papers show. McMahon is 20 years younger than Charles, 62, and John, 64.
On a fateful day in March, McMahon lent his minibike to mob scion Frank Gotti who was accidentally hit and killed by neighbor John Favara as he drove home from work. Favara was slain on Gotti's orders and, prosecutors say, Charles Carneglia dissolved his body in a barrel of acid.
Before the incident, McMahon had been "informally adopted" by John and Charles Carneglia. Charles Carneglia promised to protect the lad from retaliation for his role in Frankie's death.
McMahon was treated as a member of the Carneglia family, living with them for long stretches, attending family dinners and going on Carneglia family vacations, Assistant U.S. Attorney Roger Burlingame said.
Former capo Michael DiLeonardo has testified that McMahon was a "goofy kid" who taunted FBI agents, running up to them and grabbing his crotch.
McMahon had jobs with Local 638 steamfitters union and Local 52 motion pictures mechanics union, but those paid only $40,000 a year, chump change for a wanna-be Gambino associate with an ailing wife and two kids.
Prosecutors say he and Carneglia took part in extortions, art fraud and robberies, including the stickup of an armored car at Kennedy Airport in 1990 in which guard Jose Rivera Delgado was shot to death. McMahon dropped a baseball cap at the scene. DNA tests linked him to a strand of hair in the hat.
Shortly after he was arrested in 2005 on an indictment charging him with racketeering for the Gambinos in Tampa, McMahon sent a "thank you" letter to Brooklyn Magistrate Robert Levy for releasing him on bail.
"As I was leaving the courtroom you said to me, 'Don't let me down.' I assure you I have not," he wrote. "As soon as I'm acquitted I'll write you again."
McMahon turned on his adoptive mob family after he was convicted and faced 20 years behind bars. He is cooperating in hopes of winning a lesser prison term.
Thanks to John Marzulli
Sunday, February 01, 2009
Chazz Palminteri Grows Up with the Mob
How tough was the Bronx neighborhood where Chazz Palminteri grew up?
“When I was 9 years old,” the actor recalls, “I saw a guy kill another guy over a parking space.”
Palminteri has never forgotten the incident. Things like that tend to stay with you.
When in 1988 he grew discouraged at his inability to break into movies, and decided to write a one-man play that would show what he could do, that murder scene became his starting point.
A Bronx Tale
depicts Calogero (Palminteri’s real first name) growing up torn between two mentors: Sonny, the mob boss whom the lad refuses to rat out to police after witnessing the killing; and Lorenzo, Calogero’s hard-working father, a bus driver trying to teach his son not to admire the wise guys.
Palminteri premiered the play to acclaim in 1989, first in Los Angeles, then off-Broadway. It jump-started his career, sparking a Hollywood bidding war. Palminteri refused to sell the film rights unless he was part of the package, writing the screenplay and playing Sonny.
Robert De Niro agreed to Palminteri’s terms, making his directorial debut with A Bronx Tale and co-starring as Lorenzo. A critical and box-office hit in 1993, it launched Palminteri’s film career, including his Oscar-nominated performance in Woody Allen’s Bullets Over Broadway
and other highlights from The Usual Suspects (Special Editon)
and Hurlyburly to A Guide to Recognizing Your Saints.
Palminteri returned to A Bronx Tale during the 2007-08 Broadway season, again to critical acclaim, followed by the national tour that brings the show to Hobby Center Tuesday.
"I wanted to get back to theater,” he says. “Everybody who’d seen the original run had talked about it for 20 years. And there’s a whole new generation of people who never saw it. I thought I should do it while I was still young enough. In another 20 years, I might not be up to the challenge. When you see me perform it on stage, you’ll see why.”
As to assuming the rigors of a tour, he says, “I was not going to let anybody else do the tour. This is my story.”
How tough was it for Palminteri to get a break in pictures? “The play was born out of my desperation to get a start in movies,” he says. “I’d studied with Lee Strasberg at the Actors Studio and acted off-Broadway before moving to Hollywood to try my luck at movies. I got TV guest shots but was finding it really hard to get into feature films.”
His low point was being fired from a job as nightclub doorman. “One night I didn’t let this gentleman into a party. And it turned out he was (famed agent) Swifty Lazar. And it was his party. I don’t know how I didn’t recognize him. “After getting fired, I went home and sat on the edge of my bed. Then I saw this card my dad had given me, emblazoned with the motto ‘The saddest thing in life is wasted talent.’ I said to myself, “I’m not going to waste my life or my talent. If they won’t give me a part, I’ll write one myself.”
Starting with the murder, he wrote the play in 5- to 10-minute sections. “I’d try each segment out in front of an audience on Monday nights at Theatre West in L.A. I’d tighten and fine-tune it, before coming back the next week with another 5 to 10 minutes. By the end of the year, I had a tight, 90-minute play.”
Palminteri says about 70 percent of A Bronx Tale comes from his life, though he has consolidated some events and tweaked the time frame to better serve the coming-of-age story that follows Calogero from ages 9 to 17.
“Authenticity counts,” Palminteri says. “It matters. I wanted to show the story not in blacks-and-whites, but shades of gray. Sonny isn’t all bad, Lorenzo isn’t all good. Calogero takes the best qualities of both as he grows to manhood.”
While the script has changed little since Palminteri first performed the play in 1989, it’s getting a more elaborate production this time. “I wanted to bring it back with a major director,” he says. He got one of Broadway’s best, four-time Tony winner Jerry Zaks (Guys and Dolls, Six Degrees of Separation, The House of Blue Leaves, Lend Me a Tenor.)
“What’s different is the presentation. There’s much more of a Broadway-caliber production around the performance.
“It’s also a different experience for me, emotionally deeper, because I’ve changed. When I did the play before, I hadn’t experienced marriage or fatherhood, and I identified with the son. Now I’m married, I have a son and daughter, and I identify much more with Lorenzo.”
While that may be the character with whom Palminteri feels the strongest identification, one of the biggest kicks of the show is getting to play 18 characters, including neighborhood eccentrics and assorted (not so) goodfellas.
How tough is Palminteri? In Faithful, he terrorized Cher. (Think about it.) Even in casual conversation, Palminteri’s voice carries that street-toughened edge of authority.
Some might say that quality has led to a certain amount of typecasting. But Palminteri has played characters on both sides of the law — not just mob bosses and hit men, but cops, lawyers and prosecutors (though not all were straight-arrow types.)
“Sure, the most famous roles are the tough guys, but I’ve done a lot of different movies. I prize my work in independent films like A Guide to Recognizing Your Saints, even if they’re not the most widely seen.”
Yonkers Joe, his latest of those, lets him mine both tough and tender veins. In the title role, he plays a professional gambler who must take on the care of his 20-year-old Down syndrome son, who’s not lived with him in years.
Palminteri anticipates being back on stage again in the next couple of years, either in Joanna Baldwin’s A Child-Proof Room or in a new play he’s writing.
Palminteri anticipates being back on stage again in the next couple of years, either in Joanna Baldwin’s A Child-Proof Room or in a new play he’s writing.
For now, he’s finding inspiration taking A Bronx Tale to audiences across the nation.
“The play is about the message on that card my father gave me,” he says. “About not wasting your life or your talent. I had cards printed up with that message and, when young people ask for my autograph after the show, I hand them that card.
“I’ve gotten a lot of calls from parents, from guidance counselors, saying the show’s message helped someone. ‘My son was on drugs and seeing the show changed him.’ Being able to have that effect is certainly inspirational to me.”
Thanks to Everett Evans
“When I was 9 years old,” the actor recalls, “I saw a guy kill another guy over a parking space.”
Palminteri has never forgotten the incident. Things like that tend to stay with you.
When in 1988 he grew discouraged at his inability to break into movies, and decided to write a one-man play that would show what he could do, that murder scene became his starting point.
A Bronx Tale
depicts Calogero (Palminteri’s real first name) growing up torn between two mentors: Sonny, the mob boss whom the lad refuses to rat out to police after witnessing the killing; and Lorenzo, Calogero’s hard-working father, a bus driver trying to teach his son not to admire the wise guys.Palminteri premiered the play to acclaim in 1989, first in Los Angeles, then off-Broadway. It jump-started his career, sparking a Hollywood bidding war. Palminteri refused to sell the film rights unless he was part of the package, writing the screenplay and playing Sonny.
Robert De Niro agreed to Palminteri’s terms, making his directorial debut with A Bronx Tale and co-starring as Lorenzo. A critical and box-office hit in 1993, it launched Palminteri’s film career, including his Oscar-nominated performance in Woody Allen’s Bullets Over Broadway
and other highlights from The Usual Suspects (Special Editon)and Hurlyburly to A Guide to Recognizing Your Saints.Palminteri returned to A Bronx Tale during the 2007-08 Broadway season, again to critical acclaim, followed by the national tour that brings the show to Hobby Center Tuesday.
"I wanted to get back to theater,” he says. “Everybody who’d seen the original run had talked about it for 20 years. And there’s a whole new generation of people who never saw it. I thought I should do it while I was still young enough. In another 20 years, I might not be up to the challenge. When you see me perform it on stage, you’ll see why.”
As to assuming the rigors of a tour, he says, “I was not going to let anybody else do the tour. This is my story.”
How tough was it for Palminteri to get a break in pictures? “The play was born out of my desperation to get a start in movies,” he says. “I’d studied with Lee Strasberg at the Actors Studio and acted off-Broadway before moving to Hollywood to try my luck at movies. I got TV guest shots but was finding it really hard to get into feature films.”
His low point was being fired from a job as nightclub doorman. “One night I didn’t let this gentleman into a party. And it turned out he was (famed agent) Swifty Lazar. And it was his party. I don’t know how I didn’t recognize him. “After getting fired, I went home and sat on the edge of my bed. Then I saw this card my dad had given me, emblazoned with the motto ‘The saddest thing in life is wasted talent.’ I said to myself, “I’m not going to waste my life or my talent. If they won’t give me a part, I’ll write one myself.”
Starting with the murder, he wrote the play in 5- to 10-minute sections. “I’d try each segment out in front of an audience on Monday nights at Theatre West in L.A. I’d tighten and fine-tune it, before coming back the next week with another 5 to 10 minutes. By the end of the year, I had a tight, 90-minute play.”
Palminteri says about 70 percent of A Bronx Tale comes from his life, though he has consolidated some events and tweaked the time frame to better serve the coming-of-age story that follows Calogero from ages 9 to 17.
“Authenticity counts,” Palminteri says. “It matters. I wanted to show the story not in blacks-and-whites, but shades of gray. Sonny isn’t all bad, Lorenzo isn’t all good. Calogero takes the best qualities of both as he grows to manhood.”
While the script has changed little since Palminteri first performed the play in 1989, it’s getting a more elaborate production this time. “I wanted to bring it back with a major director,” he says. He got one of Broadway’s best, four-time Tony winner Jerry Zaks (Guys and Dolls, Six Degrees of Separation, The House of Blue Leaves, Lend Me a Tenor.)
“What’s different is the presentation. There’s much more of a Broadway-caliber production around the performance.
“It’s also a different experience for me, emotionally deeper, because I’ve changed. When I did the play before, I hadn’t experienced marriage or fatherhood, and I identified with the son. Now I’m married, I have a son and daughter, and I identify much more with Lorenzo.”
While that may be the character with whom Palminteri feels the strongest identification, one of the biggest kicks of the show is getting to play 18 characters, including neighborhood eccentrics and assorted (not so) goodfellas.
How tough is Palminteri? In Faithful, he terrorized Cher. (Think about it.) Even in casual conversation, Palminteri’s voice carries that street-toughened edge of authority.
Some might say that quality has led to a certain amount of typecasting. But Palminteri has played characters on both sides of the law — not just mob bosses and hit men, but cops, lawyers and prosecutors (though not all were straight-arrow types.)
“Sure, the most famous roles are the tough guys, but I’ve done a lot of different movies. I prize my work in independent films like A Guide to Recognizing Your Saints, even if they’re not the most widely seen.”
Yonkers Joe, his latest of those, lets him mine both tough and tender veins. In the title role, he plays a professional gambler who must take on the care of his 20-year-old Down syndrome son, who’s not lived with him in years.
Palminteri anticipates being back on stage again in the next couple of years, either in Joanna Baldwin’s A Child-Proof Room or in a new play he’s writing.
Palminteri anticipates being back on stage again in the next couple of years, either in Joanna Baldwin’s A Child-Proof Room or in a new play he’s writing.
For now, he’s finding inspiration taking A Bronx Tale to audiences across the nation.
“The play is about the message on that card my father gave me,” he says. “About not wasting your life or your talent. I had cards printed up with that message and, when young people ask for my autograph after the show, I hand them that card.
“I’ve gotten a lot of calls from parents, from guidance counselors, saying the show’s message helped someone. ‘My son was on drugs and seeing the show changed him.’ Being able to have that effect is certainly inspirational to me.”
Thanks to Everett Evans
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