An impressive €340,000 has been raised by philanthropists and the Stelios Philanthropic Foundation at a charity dinner in Monaco, with funds to go towards efforts to save the Mediterranean monk seal from extinction.
The annual dinner, now in it’s 10th edition, is organised by Monaco resident and entrepreneur Sir Stelios Haji-Ioannou who, through his philanthropic foundation, matches euro-for-euro the money raised .
This year, the collective donations came to €170,000. After being matched by the Stelios Philanthropic Foundation, the total money raised reached €340,000 – an all-time high. It will be equally shared between the Prince Albert II of Monaco Foundation and the WWF in their efforts to save the monk seal from extinction.
Monaco Life Publisher Eric Brundage and Sir Stelios Haji-Ioannou, photo source: Stelios Philanthropic Foundation
Roughly half of the monk seal’s global population, 250 to 300 individuals, lives and breeds in Greece. This unique species today faces an extremely high risk of extinction and is classified as critically endangered.
Since 2010, WWF Greece has backed local awareness campaigns, while the Prince Albert II of Monaco Foundation has been involved in monk seal conservation since 2011. In 2019, the foundation spearheaded the Monk Seal Alliance (MSA) to fund conservation projects.
The Stelios Philanthropic Foundation charity dinner has raised close to €1.6 million for the environment since 2013.
Photo above source: Stelios Philanthropic Foundation
Just three months after the launch of MaConsigne, a government initiative to reduce take-out waste, Monaco has signed on its first partner for a new joint initiative with France to reuse of glass bottles for juice, wine, beer and olive oil.
On Friday 30th September, Monaco’s Director of the Environment Valérie Davenet attended the launch of the new ‘Consigne de Provence’ initiative at the Solis Bio store.
For six years now, the Department of the Environment has been promoting the Commerce and Restaurant Engaged labels in the Principality with its partner Ecoscience Provence, which is also responsible for la Consigne de Provence, a project that is designed to reuse glass bottles in the Provence-Alpes-Côtes-d’Azur region.
The initiative is now available to all establishments in Monaco as well as surrounding regions, and it is transforming the traditional ways of buying wine, beer, fruit juice and local olive oil by coordinating and developing the deposit chain to allow consumers to use recycled bottles.
Like MaConsigne for take-away meals, this programme guarantees a quality wash that has been entrusted to a service provider located in the Drôme. A dedicated washing center is planned in Provence for 2025 when the volume is large enough in the region.
Solis Bio is the first establishment in the Principality to distribute returnable bottles and a glass bottle collection bin has been installed near the store, right besides that of MaConsigne.
Monaco Life, in partnership with the Princess Grace Foundation-USA, is proud to present a monthly series highlighting the lives and artistic work of the Princess Grace Foundation-USA’s illustrious Award winners. In this month’s exclusive interview, Princess Grace Foundation-USA’s Director of Programming Diana Kemppainen catches up with Princess Grace Award winner James Udom (Theater 2017).
James is a classically trained actor known for his roles in Joel Coen’s The Tragedy of Macbeth, The Sandman, Judas and the Black Messiah. On stage, he was most recently seen in The Taming of the Shrew, opposite Deborah Ann Wolf, directed by Shana Cooper (2010 Princess Grace Award). He received his Princess Grace Award in 2017 while he was at the Yale School of Drama (now David Geffen School of Drama).
A rising star on both the stage and screen, James shares his love of Shakespeare, what it was like to work with Denzel Washington, and his choice to take a pause on a successful acting career to attend Yale School of Drama.
Let’s start at the beginning. What inspired you to become an actor?
For as long as I can remember, I’ve wanted to be an actor. Growing up as an only child, I used my imagination a lot. I wasn’t the best at sports, but I was really good at using my imagination – and often to get out of things.
I remember the first time I realised acting was a thing; I was seven-years-old and I went to see Titanic in theatres with my aunt. I was devastated when Jack died, actually inconsolable, and my aunt had to sit me down and explain that was acting. When she explained it to me, it unlocked my world and I knew I needed to do that.
When I did my first show, there was a sense of community and belonging. It felt like home and it was so addictive.
I come from a strict Nigerian family; being an actor is not a reality unless you get to a certain level. I was their worst nightmare because I dropped out of undergrad to pursue acting and it wasn’t until I got into Yale School of Drama (they have a non-degree program) that they felt like I made it.
I remember your letter of nomination from James Bundy (Director of Yale School of Drama). He said you were the most obvious choice to nominate for the Princess Grace Award in almost 20 years, and he also noted that you had already seen success as an actor. What made you choose to go to Yale?
First and foremost, it was the longing to just be really good at this. I love storytelling and transformation, and I just want to be really good at it. That was the catalyst underneath, and there were a few things that put me on the path.
I was doing a show in Massachusetts, and Lupita (Nyong’o) had just won her Oscar. Watching an African woman win an Oscar for going to a school that I didn’t even know had an acting program was incredible. I was working in Massachusetts at the same place where Yale’s Head of Acting was working. He saw the show I was in and encouraged me to audition. But my career was picking up, and I was already working with some amazing talent.
I went to see a show that John Douglas Thompson was in (Obie and Drama Desk Award winner, Tony Nominee), and – he transformed in this way I’d never seen a black man transform on stage. I waited 45 minutes in the cold to meet him and we chatted for a bit. Two weeks later, I received a call that he submitted my name to be in his show and I joined the cast. One day we went out for lunch and I offhandedly mentioned Yale. I mentioned my hesitancy because my career was picking up, and he stopped me in my tracks and said – “if you have the opportunity to go to Yale, go to Yale. You’ll sacrifice three years, but you’ll jump 10 years ahead because of the experience.”
And my dad said the same thing. It was a combination of those three things that made me choose to go to Yale.
Do you feel like your choice paid off?
Yes! It’s hard to know what my other multi-versal self would be doing. The opportunity with Princess Grace was life changing if I’m honest.
James Udom in The Taming of the Shrew at The Old Globe
What draws you to a role?
First and foremost, it’s the question, “Do I love the story?” It has a lot to do with the message of the story; do I believe in it and what is it saying? Even if the character I’m playing is a bad person, can I shine a light that shifts a pendulum? Also is it different than what I’ve done before?
Once you’ve landed the role, what is your process to develop the character?
I’m a huge empath, so as soon as I sign on to a role, that person is me. While I’m not a method actor, the character holds a place in my heart. I constantly think about them non-stop; about how they would handle an experience, and how they would navigate the world.
If I’m on the street and I get a pebble in my shoe, I think about how my character would handle a pebble in their shoe. Would it change the way the character walks, and can I sustain that in my performance?
A lot of it also comes through rehearsing and what I get from my scene partner.
You’ve been seen in The Tragedy of Macbeth, Judas and the Black Messiah, and now The Sandman – those are very different genres of storytelling – classic Shakespeare, historical crime drama, fantasy. How does your approach shift when working in different in those different genres?
I did have a different approach for all three but I don’t know if it was a different approach based on the type of drama; it was more based on the character and the people I was working with.
For Judas and the Black Messiah, I did a lot of research. I wanted to honour Chairman Fred and the people I was working with. I didn’t know much at the start and getting to dive in and embody a gentleman who was there, I needed to do justice to this person.
The Sandman was the height of Covid; it was one of the first productions that went back to work. You had to fly and quarantine in a hotel room. It was psychologically taxing but also fantastic because I had two weeks alone in a hotel room with the characters. I struggle portraying questionable gentleman. Thankfully I had amazing co-stars and there was trust. Jamie, the director, was fantastic and watching that episode was the first experience where I was watching the art itself. I was able to separate myself and not critique my performance.
Both Macbeth and The Sandman draw on texts – and while Shakespeare may be more well known, Neil Gaiman has a huge cult following. Can you talk a little about how familiar you were with both works?
I wasn’t familiar with The Sandman at all. When I auditioned, it had a fake name. Once I learned the name, I did research. Neil Gaiman is a great world builder – he’s up there with J.R.R. Tolkien.
I’m a nerd for Shakespeare. Understanding the way he dances with the language, mocking the times, how intelligent the writing is. I was very familiar with Macbeth, as I had done it onstage two times prior.
What was it like to translate Macbeth to film, especially in that beautiful but stark adaptation?
It was really fun. For film, you have to think as the character otherwise it comes off as ingenuine. When you’re acting on stage, you’re aware of different things at the same time; your staging, the audience, etc.
In the film, my character, Seyton, has to go up Macbeth who is now the most powerful person in the nation. He’s a person that characters far above me in station are running from in fear. I took Shakespeare’s language; what’s the subtext and what’s motivating? I thought it was done in a nice way, and the director [Joel Coen] threw me a bone.
James Udom
What was it like to work with Denzel and be on set?
It was Moses [Ingram] (2018 Princess Grace Award) and me. That was surreal because we did a lot of shows together at school and then we were on a Coen set together with Denzel Washington, and it was nice to have a comrade.
That first rehearsal – I’ve never been starstruck before but I was seeing him [Denzel]. He was the first person in the room, and he asked my name and where I was from, and I just blanked.
I relaxed and I got to see the greats [Denzel, Frances McDormand] at the table read. Afterward, Moses and I approached him and he sat with us for 30 minutes. He’s a man of God, and he offered us sermons and how to be a vessel for humanity. Several times throughout the process, between his takes, he would pull us aside and chat with us.
It empowered us as artists in the room, it gave me permission to think of him as my scene partner. It was so generous of him.
You mentioned working with Moses, and your co-star in Sandman was Emma Duncan (2014 Princess Grace Award). What’s it like when you work with Princess Grace Award winners?
It’s pretty amazing. You always know the talent is going to be there. And they’re just good people. I love Moses, the way she carries herself and her approach. Same with Emma. It was a difficult time going through Covid. We were the only Americans in our episode and we shared a hotel room wall. By the end we were sharing face products; Emma is so kind and so talented. I’d met her before and it was incredible to get to work with her. Through the Princess Grace Foundation, it’s great to mingle with other talent.
What’s next? IMDB lists Echo 3 with Michiel Huisman and Luke Evans as your next project – anything you can share about that series?
I can’t tell you much. It will be on Apple TV. They’re doing amazing shows, and I hope our show will be up there. It comes out later this year, and it has some incredible talent. Mark Boal is the writer; he wrote The Hurt Locker for which he won the Oscar. He’s written this incredible show, it’s very gritty and aligned with his other work. I think it will be phenomenal.
I also did Murder City with Mike Colter (Luke Cage, The Good Wife). It’s a revenge cop drama and very action based. Between that and Echo 3, I’m living out experiences I never thought I would get to do.
You just came back from a road trip across the United States; what inspired you to embark on a road trip and was there a place that surprised you?
A few years ago, I read the book Sapiens: A Brief History of Humankind, and it changed my life. I started having a lot more compassion. It allowed me to really love humans and appreciate us as a collective without dividing. We’re a young species trying to figure it out. I became obsessed with our place in the universe and expanding myself as a human being. I had always wanted to do a road trip; and I had just finished a gig, and I thought why not now? I wanted to be more interesting as a person and not pass judgement on places I’ve never been. I feel like I became more intelligent both intellectually and spiritually.
A few places took my breath away – the Grand Canyon and Yellowstone. The Grand Canyon is famous and as soon as I saw the Canyon – it blew my mind. That we exist in a world where this place exists. And same with Yellowstone, we went to the rim of the volcano, and honestly, I fell to my knees at the beauty.
I travelled with my partner who is a daredevil; she brings me out of my shell in the best possible ways. We were traveling in a small town in Arizona, and she saw that you could kayak through the Canyon. I have a huge fear of being surrounded by massive things, but she booked us the trip, and we ended up kayaking through these massive canyons. At one point she hopped into the water and went for a swim, and I joined her. Kayaking through the canyons and the swim – that was my favourite experience through the trip.
Any last words for the members of our Monaco community?
I hope everyone is safe and happy, and I wish blessings. I could not be more appreciative of everything the Princess Grace Foundation has provided for me. I wear it as a badge of honour to know I’m a member of this community.
Follow James @mr-wungati
The Princess Grace Foundation-USA is dedicated to upholding the legacy of Her Serene Highness Princess Grace of Monaco (neé Grace Kelly), and elevating extraordinary emerging artists in theatre, dance and film through career-advancing grants. Follow along at @princessgraceus.
Interview Alexander Nübel: “I now have my rhythm back”
Heavily criticised upon his arrival at AS Monaco, German goalkeeper Alexander Nübel told Monaco Life that he is rediscovering his best form following a difficult spell at Bayern Munich.
Nübel felt the weight of expectation upon his arrival in the Principality last summer. Signing on a two-year loan deal from Bayern Munich, his adaptation to life in red and white perhaps wasn’t as smooth as expected. Whilst Nübel is the first to admit that he wasn’t playing at his highest level during the opening weeks of his spell in Monaco, he also believes that the unshakable comparisons to Bayern Munich teammate and German great Manuel Neuer played a part in shaping those negative perceptions.
“I think the comparisons [to Neuer] was part [of the criticism.] Luckily I couldn’t read the newspapers here,” he joked. “The criticism was very hard, too hard in the beginning. I wasn’t playing at my top level, but nor was I playing as badly as what was being reported. You have to handle it. For me, the most important thing is the criticism from my goalkeeping coach, and from the manager. These guys tell me the truth every day.”
In what was a period of adaptation, Nübel was grateful for the fellow German players within the squad, with whom he could converse and take his mind off what was happening on the pitch. “Kevin [Volland] and Ismail [Jakobs] were very important to me, especially Kevin, who arrived one year earlier than me. It’s much easier because I can speak German with them…it’s important because you can also talk about something else after training, after the games. We could just drink coffee and talk about other topics,” said Nübel.
However, despite his difficult start to life in France, he retained the support of then head coach Niko Kovac. “It always helps when you have the confidence of the coaches and the manager. With Niko it was helpful. At the start, I knew it wouldn’t be easy,” he said.
Under Kovac and then under Philippe Clement, with whom Nübel says he shares a “good connection”, Nübel has remained an undisputed starter in league games and European competitions. Radsolaw Majecki struggled to challenge Nübel’s supremacy and has headed out on loan to satellite club Cercle Brugge, whilst Thomas Didillon has made the opposite journey to take the place of no.2 at Monaco. “It’s always good to have a coach who sees your potential, and so you try to give everything back during the games,” said Nübel.
He quickly began repaying that faith. Last season, only OGC Nice’s Walter Benítez (7.1) prevented more goals in Ligue 1 than Nübel (4.8), whilst his confidence with the ball at his feet allowed Monaco to construct attacks from that back.
Having acclimatised somewhat over the summer, Nübel believes that his connection with his defenders has improved further, which shows in his pass completion rate (85% before matchday eight in Ligue 1). “Although I have to learn the language more, on the pitch it’s okay,” he began. “I can communicate with the guys in front of me, in English or in French, so that’s a lot better than before. I think you can see the connection between myself and the guys in front of me is a lot better than last year.”
As a goalkeeper, the connection and communication with the back-line is key, even more so in the modern game, where goalkeepers are no longer expected to be merely shot-stoppers, but also players capable of contributing to build-up play. For Nübel, “rhythm” is also key, and having lost it during his time at Bayern Munich, where he played just four times in the 2020/21 season, he now believes he is rediscovering it.
“I think I now have my rhythm back from my time at Schalke. That was also a factor in my difficult start, as it wasn’t easy without rhythm, without games at Bayern. Now it’s much better,” he said.
He continued, “Rhythm is very important for a goalkeeper. Normally you don’t change ‘keepers during a game, or even during a season. It’s something different compared to training. The rhythm and on-pitch actions are sometimes completely different. Seeing where the space is on the pitch is an important feeling to get back. At Bayern, it was difficult, although I did learn about mentality and passion.”
Having rediscovered his rhythm, he is now displaying some of his finest form in a Monaco jersey. Although the Bayern Munich loanee said he “doesn’t want to be spectacular,” his sprawling, finger-tip saves have certainly caught the eyes of Monaco fans in recent weeks.
Underpinning his recent visually-impressive performances are a set of impressive stats. No goalkeeper has made more saves than Nübel (38) in Ligue 1 this season, he has been awarded man of the match on three occasions, and he has kept three clean sheets in the last five games in all competitions. His performances also earned him AS Monaco’s player of the month award for September.
Rhythm, growing confidence, and improved communication with his back-line have certainly aided his recent fine form, but the impact of the club’s goalkeeper coach, Frederic de Boever, is far from negligible. “He’s a great goalkeeper coach. He helps me a lot and talks about my game: how we keep the ball, what positions I decide to take up, and when to be more offensive or defensive,” said Nübel.
His performances are converting into points; having faced more shots than any other goalkeeper in the league this season, Monaco’s start-of-season report could look very different if not for the German goalkeeper.
In moving from Bayern Munich, he has deviated from the path of fellow German and former teammate Neuer. Prior to that, he had followed in the footsteps of the German international goalkeeper, by playing for Schalke before moving to the Bavarian giants.
Nübel says that reports of a strained relationship between the pair whilst at Bayern Munich were false, adding, “I learnt a lot about his general game and his connection with the guys in front of him… He’s one of the best goalkeepers ever.”
He also credits Neuer for redefining the role of the goalkeeper: “He 100% changed [the way we see goalkeeping.] He is always trying to keep possession… When you see the top teams in Europe, they all have goalkeepers who play well with their feet… At Bayern, we, as goalkeepers, played a lot of possession games with the team and you saw barely any difference between him and the outfield players during those games.”
Despite his clear admiration for Neuer, his mere presence at Bayern Munich throws Nübel’s future into doubt. He is no longer willing to be a no.2, and given that Neuer’s contract runs until 2024, Nübel’s return to the Bundesliga champions is therefore in grave doubt.
“Game time is definitely the most important thing. If Manuel Neuer is still at Bayern, and he does have a contract until 2024, it makes no sense to go back to Bayern… I have a contract at Bayern, but I also think for them it makes no sense to have both me and Manuel,” admitted Nübel.
Asked where he sees himself next season, he replied, “There are good options to play at a good level. Everything is open. [Monaco] are also an option, of course.”
Should he continue to replicate his performances on a weekly basis, he won’t be short of options. At Monaco, he is appreciated, not least by Clement, who following the club’s 2-1 win against Lyon earlier in September, said, “For me, Alex has the quality to become one of the best goalkeepers in Europe, in the top 10.”
Whilst a player clearly in Neuer’s mould, he has deviated from his compatriot’s path and is currently writing his own story at Monaco. Only time will tell how lengthy their shared narrative will last.
Love and marriage, horse and carriage, and now, superyacht and sustainability: bonded at the hip, paired for life, you can’t have one without the other.
Sustainability is this year’s MYS buzz word.
If you blink in the Darse Sud Exhibition Tent you might miss the sustainability ‘suite’, but “It’s a step in the right direction”, clamours this 14-stand strong army of exhibitors. And, what they might lack in numbers they make up for in enthusiasm: This corner is busting to save the earth and seas and has (some) of the wherewithal to make it happen.
Monaco Life pulled back the tent flaps and ventured inside to discover some of the innovative solutions on offer and learn what they mean for the future of yachting.
Hello Hydrogen
‘It’s time to shift’ is the rallying cry of EODev (Energy Observer Developments). This business, created in 2019, draws on the experience accumulated on board the 30.5 metre vessel, Energy Observer – the first hydrogen-powered, zero-emission vessel to be self-sufficient in energy.
EODev presents the RexH2, an onboard hydrogen fuel cell power generator. It has a footprint of one cubic meter and weighs 540 kilograms, which, for the non-scientific among us, is not very much.
Business Developer Fernando Szabados explains: “Basically, we produce hydrogen based on fuel cell technology supplied by Toyota and adapt it to our products. They have been using this technology for decades and they know how to use it and its nature. We integrated the product into the Energy Observer in 2019 and she’s been navigating now for two years with no failures.”
Right now, the biggest boat that can be powered this way is a 30m, “But”, says Szabados, “We can supply power for bigger boats, for ‘hotel load’, which means overnight power when the vessel is not moving. Simply put, this can replace a diesel generator with no emissions, because we use hydrogen which can be produced in a totally renewable way; what we call ‘green hydrogen’. So even in the process of producing hydrogen there are no emissions. It can be used to go to protected areas with zero emission navigation.” The company is currently working on different sizes of power unit, bigger units for bigger and smaller units for smaller yachts. “The greatest challenge we have right now is for hydrogen storage, because it’s quite voluminous.”
Dr Elisabetta Zerazion, Scientific Coordinator of Water Revolution Foundation. Photo by Monaco Life
Drastic plastic
Chris Desai used to work on yachts, but during a yachtmaster course decided he wanted to work to save the sea rather than sail on it. So, he founded the charity UOCEAN 2050. “We believe we can mitigate the plastic and carbon footprint of the yachting industry,” explains Desai. “We think the yachting industry should drive the change because yachts are on the ocean and enjoy its nature. Our aim is to minimise the plastic footprints of yachts and make sure it doesn’t reach the sea.” The charity missions are, by 2030, to remove a billion kilos of marine plastic (they are currently 330,000 kilos in), and restore the abundance of the oceans by 2050.
The charity encourages plastic clean-ups throughout the world: rivers, canals, beaches, and engaging schools and all types of communities. Desai explains, “It’s about getting people who have never had access to conservation to get involved at a grass roots level to protect their communities.”
“Unsustainable practices on superyachts have to stop,” he insists, “And there is no reason why they cannot adapt to a more sustainable model by reducing their plastic and off-setting their plastic, emissions etc.”
The charity offers and is conducting an audit service for yachts on the plastic and carbon usage and work with the yachts to find alternatives.
Track Back
The Water Revolution Foundation has some hefty industry supporters with some hefty projects. The Board of Directors includes superyacht industry heavyweights such as Henk de Vries III, Chairman of De Vries Scheepsbouw, who also have a 50% share of Feadship, yacht designer Philippe Briand, and Peter Lürssen of Lürssen Yachts. They are partnered with doctors in sustainable development, marine biology and science. The aim is to track, understand and change the impact of yachts on the environment.
Their work is a study in the collective term for initialisms, but no less relevant for it.
Explains Dr Elisabetta Zerazion: “YETI (Yacht Environmental Transparency Index) will be launched at METS 2022 in November this year. It offers owners the possibility to compare their superyacht by its environmental credentials and get a YETI score.” Other innovations include a Database of Sustainable Solutions (DOSS) to have sustainable solutions verified by a third party, and perhaps the most exciting is IMMA (Important Marine Mammal Areas). This allows yachts to identify, give clear passage and react responsibly to marine life locations and behaviour.
Lee Hirons of OceanLED, photo by Monaco Life
Lights please
OceanLED Marine are all about lights. Lee Hirons points out the Sustainable Solution Verified certificate from the Water Revolution Foundation. “We are one of the first to get this verification and we are very proud. One of the main features of our lights are the optics. They give the best beam and water penetration possible. A lot of our competitors do not use optics they just push a lot of power through. We don’t have to use so much power through the lights.” Because of the reduced heat, the lights can also be smaller and therefore created with less material, another sustainable factor.
Monaco Life emerged from the tent enlightened and inspired. Go peek.
Prince Albert and Princess Charlene were joined by members of the Princely family in unveiling the official logo that will accompany all commemorative events linked to the centenary of the birth of Prince Rainier III, which takes place next year.
As Honorary President of the Commemorative Committee, Prince Albert on Wednesday was joined by his sister and Honorary President Princess Stéphanie, as well as Princess Charlene, Caroline Princess of Hanover, Mr. and Mrs. Louis Ducruet and Camille Gottlieb, as well as government ministers and other personalities, in unveiling the official logo.
Commemorations are due to take place in 2023, marking 100 years since the birth of Prince Rainier III.
They will begin on 31st May, the day of his birth, and will pay tribute to the late Prince, former Head of State, a “passionate man and father of a family”, said the Palace in a statement on Wednesday.
Photo by Eric Mathon, Prince’s Palace
“The year 2023 will make it possible to celebrate his memory, to make it known to the younger generations his work, and to remember the man who devoted his life to the service of the Principality,” concluded the Palace.
The logo includes a profile portrait of Prince Rainier III, his insignia, and the red and white colours of the Principality of Monaco.
Photo above by Eric Mathon, Prince’s Palace
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