portrait

The image of a grieving parent is not an uncommon sight on the dramatic stage. Euripides, whom Aristotle called “the most tragic of the poets,” returns to the figure of the grief-stricken parent in “Hecuba,” “Hippolytus” and “The Bacchae,” to cite just a few disparate examples of characters brought to their knees by the death of their child.

Shakespeare offers what has become the defining portrait of this inconsolable experience in “King Lear.” Cradling the lifeless body of his murdered daughter, Lear can do nothing but repeat the word “never” five times, the repetition driving home the irrevocable nature of loss.

In tragedy, the protagonist is often plagued by guilt for his own role, however inadvertent or inescapable, in the catastrophe that befell his loved one. Theseus in “Hippolytus” and Agave in “The Bacchae” both have reason to feel that they have blood on their hands. Lear, though “more sinned against than sinning,” recognizes only after it’s too late the error in judgment that led to the devastation from which there can be no return.

The difference with “Guac,” the one-man performance work at the Kirk Douglas Theatre, is that Manuel Oliver isn’t just playing a bereaved father. He is one.

Manuel Oliver in “Guac.”

(Cameron Whitman)

Oliver’s 17-year-old son, Joaquín, known as Guac to family and friends, was one of the 17 lives lost in 2018 at Marjory Stoneman Douglas High School in Parkland, Fla. The production, written and performed by Oliver, turns a parent’s grief into a theatrical work of activism.

Co-written by James Clements and directed by Michael Cotey, “Guac” has been sharing the story of Joaquín’s short but vividly lived life with audiences around the country. Oliver didn’t just love his son. He liked him. Guac was his best friend. He was also his trusted guide to American culture.

Immigrants from Venezuela, the family had made a new start in a country that Guac helped them feel was their home. To convey the meaning of Guac’s life, Oliver introduces his family members through a series of photo images he has crafted into artworks.

The last picture, and the one that remains staring at us throughout the performance, is of Guac. Oliver continues to enhance the portrait. While adding flourishes to the background and making adjustments to what his son is wearing, he tells us about the life they shared before it was tragically stolen.

Manuel Oliver works on a portrait of his late son in “Guac.”

(Donna F. Aceto)

The tragedy is overwhelmingly real. Oliver bears the weight of it by transforming his grief into fuel for activism. The performance makes the case for stricter gun law in America with the heartbreaking eloquence of a father whose life changed permanently after dropping his son off at school on a Valentine’s Day that started so promisingly.

What happened to Joaquín could happen to any of us, anytime, anywhere, in a country that has allowed its elected officials to deflect responsibility for their repeated failure to pass common sense gun legislation. While taking money from the NRA, these cynical politicians offer empty “thoughts and prayers” in place of meaningful reform. The result is that no one can go anywhere in public without eyeing the emergency exits and scanning the crowd for trouble.

Oliver isn’t a polished theatrical professional. He’s a dad, first and foremost. But it’s his comfortable ordinariness that allows him to make such a powerful connection with the audience. He’s onstage but could very well be exchanging a few neighborly words with us on our street.

Oliver summons his son by joyfully remembering his virtuosity on air guitar. Lynyrd Skynyrd’s “Free Bird” resounds throughout the Douglas while he enlivens the portrait with impassioned strokes. The words “I wish I was here” are added to Guac’s T-shirt, and it’s a sentiment we all devoutly, agonizingly share as Oliver brings his wife, Patricia, onto a stage that has urgently become an extension of our national reality.

In honor of Joaquín, the couple formed Change the Ref, an organization dedicated to raising awareness about mass shootings and empowering the next generation of activists through “creativity, activism, disruption and education.” “Guac” is a potent example of what can be done in the wake of a tragedy that can no longer be described as unthinkable.

THE final batch of £1 coins featuring the late Queen Elizabeth II’s portrait will enter circulation for the last time – and they could be worth a pretty penny.

More than 23million of the coins are being released today, Wednesday August 20 by the Royal Mint has said.

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That means you could spot one in your change in the coming weeks.

These pieces will be the final ones bearing Elizabeth II’s portrait to enter circulation.

Plus, the Royal Mint said these coins dated 2022, are the rarest £1 coins in active circulation.

If you are keen to spot the coin, there are a few details you can spot.

The front, or heads side, of the coin features a portrait of the late Queen Elizabeth and the date 2022.

While the reverse, or tails side, features an image of a crown with an English rose, Scottish thistle, Welsh leek and Northern Irish shamrock.

The coin joins a raft of other rare £1 pieces, including the 2011 Edinburgh City coin that has sold for 95 times its face value.

These coins have a mintage of just 935,000, making it a rare find.

Back in June, the coin sold for £23 on eBay after 21 bids.

The coin was part of a series depicting the four capital cities of the UK and is the only £1 coin with a mintage below one million.

In comparison, a recent bidder paid £7.53 for one of the coins after fighting off bids from five others.

But coins are only worth what sellers are willing to pay for them.

So another piece may sell for a higher or lower price later down the line.

It comes as the official maker of UK coins is also set to release 7.5 million new King Charles III £1 coins.

The 50p and £1 are the only denominations with Charles’s portrait to have entered circulation so far.

The King’s £1 coins feature an intricate bee design on the reverse and are part of the Definitive collection, inspired by the flora and fauna of the British Isles.

Rebecca Morgan, director of commemorative coin at the Royal Mint, said: “This release represents a pivotal moment in British coinage history.

“As we release more of the King Charles III £1 coins into circulation alongside the final coins of Queen Elizabeth II, we’re witnessing the physical representation of our monarchy’s transition.”

She added: “This dual release creates an exceptional opportunity for both seasoned numismatists and those new to coin collecting.”

“Finding these new coins in your change could spark a rewarding hobby that connects you with the heritage, history and craftsmanship behind British currency.”

And that is not the only rare coin that collectors are keen to get their hands on.

The Kew Gardens 50p recently fetched £205 on eBay after 29 buyers battled it out for the piece.

Other rare coins to keep an eye out for are the Atlantic Salmon 50p,

How to spot rare coins and banknotes

Rare coins and notes hiding down the back of your sofa could sell for hundreds of pounds.

If you are lucky enough to find a rare £10 note you might be able to sell it for multiple times its face value.

You can spot rare notes by keeping an eye out for the serial numbers.

These numbers can be found on the side with the Monarch’s face, just under the value £10 in the corner of the note.

Also, if you have a serial number on your note that is quite quirky, you could cash in thousands.

For example, one seller bagged £3,600 after spotting a specific serial number relating to the year Jane Austen was born on one of their notes.

You can check if your notes are worth anything on eBay, just tick “completed and sold items” and filter by the highest value.

This will give you an idea of what people are willing to pay for some notes.

But bear in mind that yours is only worth what someone else is willing to pay for it.

This is also the case for coins, you can determine how rare your coin is by looking a the latest scarcity index.