Nurse

SACRAMENTO — Jettisoning another apparently losing fight, Gov. Arnold Schwarzenegger has abandoned his yearlong effort to relax rules mandating the number of nurses that hospitals must employ.

His endeavor helped spark the public employee union rebellion that led to the defeat of his special election agenda Tuesday.

Schwarzenegger last November had set aside rules that required hospitals to employ in some wards one nurse for every five patients instead of every six. His administration said it was concerned hospitals could not handle the financial costs involved in hiring more nurses.

But a Sacramento County Superior Court judge rejected the administration’s effort in March, and the ruling was upheld by an appellate court. While the administration continued to try to overturn it, hospitals had to follow the new rules and discovered they were not as burdensome as they had feared.

On Thursday, the same day Schwarzenegger publicly pledged to be less combative with those who had opposed his special election, the administration dropped its appeal. “We had 10 months of experience with the court-mandated ratios and there seems to be no negative impact on the healthcare system,” Sabrina Demayo Lockhart, a spokeswoman for the Health and Human Services Agency, said Friday.

“Our data shows that hospitals have been able to meet the lower ratios,” she said, “and some hospitals have even signed it into their labor contracts.”

Leaders of the California Nurses Assn., which persuaded a judge to reinstate the rules in March, said they viewed Schwarzenegger’s action as both a “strategic retreat” from a court case that could not be won and an effort to mend relations with those who had defeated the four initiatives he backed on the Nov. 8 ballot.

“The governor did extend the olive branch and we don’t want to be ungracious,” said Rose Ann DeMoro, the union’s executive director. “But as he extends this branch, we will never take our eye off the tree. What we are focused on is that this governor takes his direction from corporations.”

The nurses declared it as a victory in a campaign that saw them hound Schwarzenegger at appearances throughout California, holding 107 protests. At one of the earliest, in December, Schwarzenegger told his audience those “special interests” were angry because he was “always kicking their butts.”

The rest of the public employee unions turned against Schwarzenegger in January, when he also proposed altering the state’s pension system to save money for the state and local governments. Schwarzenegger decided to drop that from his slate of ballot measures after unions discovered it might eliminate death and disability benefits for firefighters and police.

Jim Lott, executive vice president at the Hospital Assn. of Southern California, said the governor’s action in ending his appeal of the staffing rules “will have no impact on what hospitals do because they are already attempting to staff at the more stringent levels.”

Last March, Lott had warned that the rules might lead to the closure of hospitals “on the cusp of closing because of financial burdens.”

Kaiser Permanente and University of California hospitals have stated they have adopted the new ratios. Lockhart said Catholic Healthcare West, the state’s largest nonprofit chain, recently agreed to comply.

At a news conference at its Oakland headquarters Friday, the nurses union said the timing of both the initial challenge to the nursing ratios and the decision to abandon the fight appeared to have political links.

The union said Schwarzenegger decided to challenge the ratios two days after the reelection of President Bush, for whom Schwarzenegger had campaigned. He abandoned the legal case two days after his special election defeat, with his popularity having fallen from its great heights the previous year.

“He has to run for reelection,” said Deborah Burger, the union’s president. “He doesn’t have a choice. It’s like the bully taking away the kids’ lunch money and then expecting the kid to be happy because he invites him to have lunch with him.”

The governor’s office declined to discuss the politics of the decision, but a senior aide said it had been made a month ago.

The nurse-patient ratios were signed into law by former Gov. Gray Davis in 1999 and took effect in January 2004, requiring one nurse for every six patients. This year, the ratio tightened to one nurse for every five patients.

Superior Court Judge Judy Holzer ruled in March that the administration had failed to provide evidence to back up its assertions that the new rules would create problems for hospitals.

The fight with Schwarzenegger has politicized the 65,000-member nurses union, which previously had not been one of Sacramento’s major players. The nurses said they plan to continue to pressure the state’s leaders by lobbying next year for a single-payer healthcare system that would abolish private insurers and for comprehensive campaign finance reform.

KILLER Jihad Al-Shamie secretly “married” an NHS nurse who converted to Islam, a source said.

Elizabeth Davis, 35, is said to have told her family about him only after the synagogue attack.

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Al-Shamie’s first marriage reportedly fell apart six months ago.

The Sun on Sunday cannot confirm if mum-of-five Elizabeth, of Bolton, was legally his second wife.

A source said: “Liz converted to Islam four years ago.

“Her conversion caused tensions with her family, they say she became a totally different person after that.

“She stopped communicating with relatives and friends.

“It was like she had been brainwashed.

“The family only found out that she had got married to Al-Shamie after the synagogue attack on Thursday.

“The family are horrified that she has been involved with someone like that.

“It’s possible she got married to him in an Islamic law ceremony.”

Al-Shamie was on bail after being arrested on suspicion of rape and was due to appear in court.

Everyone can use an editor, and Shakespeare is no exception. Fortunately, he married one.

Tired of being cooped up with the kids in Stratford-upon-Avon, Anne (Teal Wicks), wife of the great playwright, pops down to London to see the first performance of “Romeo and Juliet.” The new tragic ending that Shakespeare (Corey Mach) proudly previews to the company strikes her as completely wrongheaded.

“What if … Juliet doesn’t kill herself?” she proposes. As strong-willed as her husband, she doesn’t wish to argue the point. She merely wants to put her idea to the test.

Behold the premise of “& Juliet,” the euphoric dance party of a musical that updates Shakespeare with a dose of 21st century female empowerment. The production, which opened Friday at the Ahmanson Theatre under the fizzy direction of Luke Sheppard, reimagines a new post-Romeo life for Juliet while riding a magic carpet of chart-toppers from juggernaut Swedish producer Max Martin, who has spun gold with Katy Perry, Britney Spears and the Backstreet Boys, among other pop titans.

Teal Wicks, left, and Rachel Webb in the North American Tour of “& Juliet.”

(Matthew Murphy)

This good-time jukebox musical relies as much on its wit as on its catalog of pop hits. The show’s music and lyrics are credited to Max Martin and friends — which sounds like a low-key cool table at the Grammy Awards. The clever book by Emmy winner David West Read (“Schitt’s Creek”) creates a world that can contain the show’s musical riches without having to shoehorn in songs in the shameless fashion of “Mamma Mia!”

Take, for instance, one of the early numbers, “I Want It That Way,” a pop ballad made famous by the Backstreet Boys. Anne starts singing the song when Shakespeare initially resists her idea of giving Juliet back her life. She wants him to go along with her suggested changes not because she’s sure she’s right but because she wants him to trust her as an equal partner. The song is redeployed in a way that has little bearing on the lyrics but somehow feels coherent with the original emotion.

Obviously, this is a commercial musical and not a literary masterpiece on par with Shakespeare’s tragedy of ill-starred lovers. “& Juliet” would have trouble withstanding detailed scrutiny of its plot or probing interrogation of Juliet’s character arc. But Read smartly establishes just the right party atmosphere.

Juliet (a vibrant Rachel Webb), having survived the tragedy once scripted for her, travels from Verona to Paris with an entourage to escape her parents, who want to send her to a nunnery for having married Romeo behind their backs. Her clique includes Angélique (Kathryn Allison), her nurse and confidant; May (Nick Drake), her nonbinary bestie; and April, her newbie sidekick out for fun who Anne plays in disguise. Shakespeare casts himself as the carriage driver, allowing him to tag along and keep tabs on the cockeyed direction his play is going.

In Paris, the crew heads directly to the Renaissance Ball, which has the look and feel of a modern-day mega-club. Entry is barred to Juliet, but not because she’s ridiculously underage. Her name isn’t on the exclusive guest list. So through the back door, Juliet and her traveling companions sashay as the production erupts in “Blow,” the Kesha song that encourages everyone to get their drink on and let loose.

Rachel Webb and the North American Tour Company of “& Juliet.”

(Matthew Murphy)

The dance setting — kinetically envisioned by scenic designer Soutra Gilmour, lighting designer Howard Hudson, sound designer Gareth Owen and video and projection designer Andrzej Goulding into a Dionysian video paradise — provides the all-purpose license for Martin’s music. It’s the atmosphere and the energy that matter most. Paloma Young’s extravagant costumes raise the level of decadent hedonism.

In this welcoming new context — imagine “Moulin Rouge! The Musical” suffused with girl power — there’s never anything odd about the characters grinding and wailing like karaoke superstars. The ecstatic motion of Jennifer Weber’s choreography renders dramatic logic irrelevant.

But love is the name of the game, and both Juliet and May fall for François (Mateus Leite Cardoso), a young musician with a geeky sense of humor who’s still figuring out his identity. May doesn’t expect romance to be part of their fate. In the Spears song “I’m Not a Girl, Not Yet a Woman,” they give powerful expression to an inner confusion this musical romance is determined to sort out with an appropriate partner.

Unlike for the original characters, a happy ending is no longer off-limits. Shakespeare and Anne wrestle to get the upper hand of a plot that seems to have a mind of its own. Shakespeare pulls a coup at the end of the first act that I won’t spoil except to say that what’s good for the goose proves dramaturgically viable for the gander.

Teal Wicks, left, Rachel Webb, Nick Drake and Kathryn Allison in the North American Tour of “& Juliet.”

(Matthew Murphy)

This spirited competition stays in the background, but their marital happiness matters to us. Mach’s Shakespeare has the cocky strut of a rapper-producer with a long list of colossal hits. Wicks gives Anne the heartfelt complexity of one of her husband’s bright comic heroines. There’s a quality of intelligent feeling redolent of Rosalind in “As You Like It” in Wicks’ affecting characterization and luscious singing.

But the musical belongs to Juliet, and Webb has the vocal prowess to hijack the stage whenever she’s soaring in song. If Juliet’s character is still a work in progress, Webb endows her with a maturity beyond her years. She makes us grateful that the Capulet daughter is getting another crack at life. When the big musical guns are brought out late in the second act (“Stronger,” “Roar”), she delivers them as emancipatory anthems, fueled by hard-won epiphanies.

Allison’s Angélique is just as much a standout, renewing the bawdy earthiness of Shakespeare’s nurse with contemporary sass and rousing singing. If the supporting cast of men doesn’t make as deep an impression, the festive comic universe is nonetheless boldly brought to life.

“& Juliet” bestows the alternative ending everyone wishes they could script for themselves — a second chance to get it right. This feel-good musical is just what the doctor ordered in these far less carefree times.

Eric Bauman, a gruff and tireless political operative who led two of California’s most powerful Democratic organizations before resigning amid misconduct allegations, died Monday.

His family said in a statement that Bauman died at UCLA West Valley Medical Center after a long illness. He was 66.

Born in the Bronx to an Army doctor and a registered nurse, Bauman went to military school and moved to Hollywood just before he turned 18. He became a nurse and met his husband, also a nurse, in a hospital cafeteria during an overnight shift in the early 1980s.

Motivated in part by the AIDS crisis, Bauman became active in the Stonewall Democratic Club Los Angeles, a progressive political group, and was elected president of the organization in 1994.

Bauman grew L.A. County Democratic Party into a political force as chairman from 2000 to 2017 and expanded the number of Democrats winning elections at every level of government, from water boards to the U.S. House of Representatives.

“I turned the L.A. Democratic Party from a $50,000-a-year organization into a $1.5 million-a-year organization,” he told a reporter in 2011.

With a Bronx affect and a gold signet ring on his pinkie finger that he twisted when he was under pressure, Bauman built a reputation as an old-school party boss who would give you the bad news straight. Democrats compared him to Ray Liotta, and some called him the “Godfather of Democratic politics.”

“People come up to me on the street all the time and think I’m Joe Pesci,” he told the Times in 2017. “I try to work with that.”

Bauman ran for state Democratic Party chair in 2017. After a bruising election that exposed the fractures between the progressive and establishment wings of the party, Bauman was elected by a mere 62 votes.

He was the first openly gay and first Jewish person to chair the party.

“I don’t wear a button that says, ‘Look at me, I’m gay,’” Bauman said in a 2009 interview with the UCLA Film and Television Archive. But, he said, “I never fail to recognize my partner from any podium. It is in my bio. It is a part of who I am.”

The high point of his tenure was the 2018 midterm elections, when California Democrats flipped seven seats in the U.S. House of Representatives and won back a veto-proof supermajority in the state Legislature.

Bauman said he wanted to overturn California’s voter-approved “jungle primary” system, which allows the top two vote-getters to advance to the general election, regardless of party. Bauman argued that Democrats should pick their own nominees, rather than spending millions of dollars fighting in the primaries.

In late 2018, The Times reported that Bauman had made crude sexual comments and had engaged in unwanted touching or physical intimidation in professional settings, citing 10 party staff members and political activists.

Bauman resigned, saying he planned to seek treatment for health issues and alcohol use. The state Democratic Party fired top staffers in the wake of the allegations and eventually paid more than $380,000 to settle a sexual misconduct lawsuit brought by three of his accusers. A party spokeswoman did not respond to requests for a statement on Bauman’s death Tuesday.

After his resignation, Bauman disappeared from public life for several years. More recently, he began hosting a radio show called “The UnCommon Sense Democrat” on the Inland Empire’s KCAA-AM 1050.

In the mid-2000s, when Republicans still represented many outlying areas of Los Angeles County, Bauman set up a “red zone program” at the L.A. County Democratic Party that funneled money and volunteers to Democrats running for seats in GOP strongholds.

The investments were a gamble, but they built relationships and better candidates — and sometimes, a long shot candidate actually won, said former state lawmaker Miguel Santiago, who first got involved with the party in the early 2000s.

“He was really hungry for Democratic wins,” Santiago said. “There was no seat that that guy left on the table, whether it was a community college seat, a school board race, a water board race.”

Bauman also worked to strengthen ties with organized labor, now the California Democratic Party’s most powerful ally, and build voter registration and turnout.

State Assemblymember Mark Gonzalez, who chaired the county party after Bauman, said he spent countless hours as a young volunteer entering information about newly registered voters into the party database.

The data came from a booth that the Democratic Party set up outside citizenship ceremonies where newly eligible voters could register to vote as Democrats, he said. Bauman sent a signed card to each person, congratulating them and welcoming them to the party.

“That touched people, and it showed them that they matter,” Gonzalez said.

Bauman also worked for Gov. Gray Davis and insurance commissioner John Garamendi and as a consultant to several Assembly speakers, including Anthony Rendon of Los Angeles and Toni Atkins of San Diego.

He is survived by his husband and partner of 42 years, Michael Andraychak, and his father and sister, Richard and Roya Bauman.