So, my views on feminism are extremely nuanced and after reading a story on LinkedIn a few days ago I definitely think some words need to be said.
A young, attractive looking woman recounts her recent experience of being fired from her admin job the very same day she started there despite making effort to learn the job, having lunch with the boss and doing nothing wrong except existing on the planet. The male boss hands her a check at the end of the day, saying "I didn't tell my wife I was hiring for this role." I along with some other commenters suspected this woman was the victim of a jealous wife and her insecurities. Worse, others talked about how this was commonplace in the work force (particularly in closely held private companies) or personally experienced that themselves in these our modern times.
So, as a woman who went from married to divorced and ugly to pretty by society as well as a business owner who dealt with the HR end in a company, I have a few choice words to say about this situation:
1. These wives should have ZERO hire/fire authority in a business. There is a little thing called gender discrimination, which is a state & federally protected category. Who knows what these harpies said to these women or what they heard from the male boss or anyone else in the company that could subject the place to a deserved lawsuit or EEOC complaint? If you can't run a business separate from your insecurities and mental issues, you should not be in an HR leadership role.
Instead, these crones need to seek counseling, perhaps even take their husbands to couples/marital counseling. They need to be asking themselves why they wish to stay in a marriage with a man they have so little trust in. Why in the hell do you want to subject yourself to that aggravation and harassment in the name of a "marriage?" Children see that stuff & they'll just learn Mommy is a jealous bitch or think it's okay to treat attractive women like garbage or that marriage is all about controlling men instead of a mutual, loving relationship where those two people have each other's backs no matter what. That's what I would have picked up from that. Do these women hassle their attractive teenage and 20 something daughters for their looks?
2. These men do not need to have businesses since they don't have any balls, which leadership requires. It doesn't work if you're running to your mommy or your wife every 5 seconds for every little decision. See #1 if your wife refuses to behave like a mature grown up and recognize that attractive women have the right to gainful employment and not be looked upon as scum for doing nothing more than existing on the planet. Also, if men are that unhappy with their wives they need to seek out a divorce instead of cheating on them or enabling their insecurities.
3. Who wants to bet these same wives are Clinton supporters and claim to be feminists and "pro-women?" Plenty of women backing Clinton claimed that women who didn't vote for her were traitors to the gender. But look how Hillary treated the women who said her husband sexually abused them? Was SHE in any way being "pro-woman?" NO!!!!!!!!!! That along with her stealing the nomination from Sanders and thinking it was a coronation convinced me she was not worthy of my vote.
Newsflash, harpies: if you're pro-woman, that means you support ALL women. That includes women who are younger and more attractive than you. It includes women who disagree with you. If you're okay with bashing and harassing some woman for being better looking than you, then you aren't a feminist. That makes you a hypocrite along with a harpy, a crone, anything else negative we can think of including jealous and insecure. Another newsflash: it takes TWO to tango. Where is your rage at the guy harassing such a woman? Why are you blaming some woman's mere existence when it could easily be a different one tomorrow? Being an asshole to someone who's better looking doesn't make you a saint nor a hero.
Do you want to fit the guy for a chastity belt or shouldn't you grow the fuck up, get some self-confidence and be content with who YOU are? That's why you need counseling. Confident people don't have to knock others down to lift themselves up. They actually TRUST their spouses and boyfriends and react to cheating with "nobody's stopping you from walking out that door but you'd better not try coming back since I won't have you."
What would these wives do if some attractive sales person or business development person from a potential client's office walks in trying to solicit business from that company? What if she's from a company that could make that business tons of money? Are we going to let jealous harpies dictate these decisions? Is she going to have the husband call up the client company and say "you can't have this person discuss the deal with us?" If it were me, I'd say run your own damn business and I'd spend my money elsewhere instead of catering to some old crone's self-esteem problems.
I think there should be a listing of these businesses and they should be boycotted as well as sued or run out of business since those are terrible businesses which shouldn't exist, period. I would happily boycott these places and if that incident happened to me, I would seek out whatever recourse I could.
So in reading about this, I realized that this is why you will never organize a truly proper pro-women's movement. It seems too many of these women are talking out of both sides of their mouth. Get the young pretty secretary fired for merely existing (no actions on her part) while claiming to want equality for women. I also can't get behind third wave feminists since they just want superior rights & to create offense out of thin air. I'm not for that.
There was an observation years back that conservative women are more attractive than liberal women on the whole. In light of this story, I can see why that could happen. Plenty of liberal women are hypocrites on the cause of equality of women and who wants to deal with that? I've generally been seen as smart instead of pretty first so many look at me as intelligent but I've had to deal with jerkoffs who'll tell me how it's great I'm a lawyer but then ask me out as though I have to put out to get business. That infuriates me and I definitely make that known to guys who do it. If they hate me for that, I don't care & I wear that proudly. Attractive women deal with that even more when they aren't licensed professionals so why would they want more shit from insecure harpies? The women's rights leaders should really examine this & ask themselves these questions, don't you think?
Saturday, May 13, 2017
Friday, April 14, 2017
It's All Fun and Games Until You Have to Clean the Pee
I guess you could say that for babies as well? That's how my dating life has felt.
Perhaps I was very spoiled with my ex since I never had to do this in the many years of my married life. I don't recall doing this while we were living together or dating either. In my varied adventures, this never happened but in my post-divorce life that has come up with more than one guy. Men, if you've got no other selling point for yourself just tell the ladies that at least you clean up your own pee. You are not that guy who gets urine EVERYWHERE in the public bathroom to the chagrin of everyone who ever walks in & especially the janitor. Come to think of it, maybe the fact that my ex had been a janitor/custodian is why he didn't do that stuff. He was the guy who got stuck cleaning it for a living. He told me a tale of feces being smeared about & one tale of a cell phone that was sitting in pee!
Unless maybe you were into that as part of your sex games, why in God's name would you go to someone else's house and not clean up after yourself? If that person has roommates, you've also managed to make your significant other the target of ire and scorn from his/her roommates. This, in turn, will piss off your significant other who has to live with these people & frankly, these people have a valid point. If I go to YOUR house, will your bathroom be grosser than one inside a gas station?
By the way, some free advice: if you're going on a road trip DO NOT go to a gas station if you need to use the bathroom. Go to a McDonalds or another fast food restaurant. In the Southeast, at least, the McDonalds bathrooms on a whole are much cleaner, located in a safer place and no one will hassle you to buy food first. Of course, if you can to a place you want to get food at the bathroom trip will be much easier to take care of. When I drove from Atlanta to NC, I'd look for the Chick-Fil-A since I'd eat the food there & you better believe their bathrooms are immaculate. Not to mention their customer service is a trillion times better. Apparently if you want to use the bathroom in NYC, you go to a bar if you can't get to a Starbucks with a bathroom.
There should be a law that you never have to clean a grown person's bodily waste unless A) you are married to that person, B) you are that person's paid caregiver, or C) you are a medical professional on the clock at work. No mentally functional adult's parents should ever have to deal with that since that parent already went through all that when that person was growing up.
Do other straight women deal with this? What do they do? I have my ideas for tackling such an issue that hopefully won't involve me setting off an air horn indoors. This is another one of those "men are puzzling" things. Another thing that puzzled me is this guy I liked, went out with a few months back, figured it wasn't going to happen after getting some uncool information from him suddenly reappeared and wanted to hang out with me. My feeling was shock then "okay..." How many men actually follow through on the "let's be friends" stuff? In my experience, zero.
Now I think he could end up being good for me if I can feel comfortable and there can be mutual trust. Definitely within the league of Single 2.0 me but I feel like it's still in the "getting to know you" stage & I'm wary of putting too many emotional eggs into one basket + don't trust that quickly.
I also met a guy who claimed to want to see me again but decided to pick the day I started that time of the month to do anything of an intimate nature. Not heard from that one since I've been hanging out with the guy who reappeared. It's like "if you just wanted to find some girl to do the nasty with, why would you pick the one who's bleeding?" Even if you're a 3 on the 1-3 scale of such things (see a prior post on this subject), wouldn't you only do that with someone you knew vs. picking a total stranger, regardless of how cute she was? It's just easier for cleanup and all that, isn't it? So I haven't concluded if this guy was sincere in his claims to care or if he's just really lousy at selecting drought breakers.
Let's not even get into the reappearing acts. I think some men are like stray cats. You feed them once & they always return, even a long time later. Not sure if I have some type of talent or what that's all about. Still trying to figure that one out since I feel like there are plenty of other attractive women in NYC, even natural redheads with some looks. These men don't need to keep bothering me, yet they do. Why?!?!?
Seriously, though some of us are childfree & if we wanted to clean up bodily waste we would give birth to our own children and deal with diaper changes. Agreed?
Perhaps I was very spoiled with my ex since I never had to do this in the many years of my married life. I don't recall doing this while we were living together or dating either. In my varied adventures, this never happened but in my post-divorce life that has come up with more than one guy. Men, if you've got no other selling point for yourself just tell the ladies that at least you clean up your own pee. You are not that guy who gets urine EVERYWHERE in the public bathroom to the chagrin of everyone who ever walks in & especially the janitor. Come to think of it, maybe the fact that my ex had been a janitor/custodian is why he didn't do that stuff. He was the guy who got stuck cleaning it for a living. He told me a tale of feces being smeared about & one tale of a cell phone that was sitting in pee!
Unless maybe you were into that as part of your sex games, why in God's name would you go to someone else's house and not clean up after yourself? If that person has roommates, you've also managed to make your significant other the target of ire and scorn from his/her roommates. This, in turn, will piss off your significant other who has to live with these people & frankly, these people have a valid point. If I go to YOUR house, will your bathroom be grosser than one inside a gas station?
By the way, some free advice: if you're going on a road trip DO NOT go to a gas station if you need to use the bathroom. Go to a McDonalds or another fast food restaurant. In the Southeast, at least, the McDonalds bathrooms on a whole are much cleaner, located in a safer place and no one will hassle you to buy food first. Of course, if you can to a place you want to get food at the bathroom trip will be much easier to take care of. When I drove from Atlanta to NC, I'd look for the Chick-Fil-A since I'd eat the food there & you better believe their bathrooms are immaculate. Not to mention their customer service is a trillion times better. Apparently if you want to use the bathroom in NYC, you go to a bar if you can't get to a Starbucks with a bathroom.
There should be a law that you never have to clean a grown person's bodily waste unless A) you are married to that person, B) you are that person's paid caregiver, or C) you are a medical professional on the clock at work. No mentally functional adult's parents should ever have to deal with that since that parent already went through all that when that person was growing up.
Do other straight women deal with this? What do they do? I have my ideas for tackling such an issue that hopefully won't involve me setting off an air horn indoors. This is another one of those "men are puzzling" things. Another thing that puzzled me is this guy I liked, went out with a few months back, figured it wasn't going to happen after getting some uncool information from him suddenly reappeared and wanted to hang out with me. My feeling was shock then "okay..." How many men actually follow through on the "let's be friends" stuff? In my experience, zero.
Now I think he could end up being good for me if I can feel comfortable and there can be mutual trust. Definitely within the league of Single 2.0 me but I feel like it's still in the "getting to know you" stage & I'm wary of putting too many emotional eggs into one basket + don't trust that quickly.
I also met a guy who claimed to want to see me again but decided to pick the day I started that time of the month to do anything of an intimate nature. Not heard from that one since I've been hanging out with the guy who reappeared. It's like "if you just wanted to find some girl to do the nasty with, why would you pick the one who's bleeding?" Even if you're a 3 on the 1-3 scale of such things (see a prior post on this subject), wouldn't you only do that with someone you knew vs. picking a total stranger, regardless of how cute she was? It's just easier for cleanup and all that, isn't it? So I haven't concluded if this guy was sincere in his claims to care or if he's just really lousy at selecting drought breakers.
Let's not even get into the reappearing acts. I think some men are like stray cats. You feed them once & they always return, even a long time later. Not sure if I have some type of talent or what that's all about. Still trying to figure that one out since I feel like there are plenty of other attractive women in NYC, even natural redheads with some looks. These men don't need to keep bothering me, yet they do. Why?!?!?
Seriously, though some of us are childfree & if we wanted to clean up bodily waste we would give birth to our own children and deal with diaper changes. Agreed?
Monday, March 20, 2017
The Surreal Adventures of The Angry Redheaded Lawyer: "Your Name on My Lips" presented by Crystal Field (Executive Artistic Director) at Theater for The New City by Eric B. Sirota
* A disclaimer before you read this review: I am a very cynical woman in matters of romance and love. My parents had a dysfunctional marriage featuring my father as an emotionally abusive alcoholic and my mother as his enabling, God fearing wife in the backdrop of the American South, a region known for wives in particular getting the short end of the stick in marriage matters. A lack of money did not help their problems though my mother should be commended for her emotional strength and resourcefulness.
I had no childhood sweetheart, often got dumped by guys in college when I wasn't having to fend off clingy psychopaths I didn't find remotely attractive, fell in love at the ripe old age of 23 and after a marriage of more than 7 years found myself thrown out into the street by the “love of my life” a mere 9 months after my father's sudden death with no real explanation except his stating “I don't want to be a subsistence farmer” and him thinking it was my duty to be his meal ticket so he could sit on his butt and do nothing.
After a very bitter divorce and 16 months as a transient in NY and CT, I have slowly been trying to make myself whole again if not better. To say that I do not believe in love and don't trust anyone is a gross understatement; I even got a tattoo many years ago commemorating the fact that true love does not exist for yours truly.
So for those of you reading this review, please bear this perspective in mind. You might agree, you might disagree but this is my honest critique.
Perhaps the night I saw this show wasn't the best time as I did have a brief panic earlier in the day that a guy I'd seen recently is & has been carrying a torch for someone else; yeah, most women and especially me do not want to deal with any guy carrying a torch that isn't for her whether you are just friends with benefits, boyfriend/girlfriend or getting engaged. *
“Your Name on My Lips” is about an artist named Sam (Matt Mitchell) who comes from a troubled family background but finds his artistic muse in a young girl named Suzanna (Michelle Siracusa). As they grow into teenagers and into high school age, they become romantically involved and Suzanna even loses her virginity to Sam.
Matt Mitchell, Michelle Siracusa
Like many young girls, Suzanna comes from a modest, middle class background where her father (Brandon Grimes) loves Sam's vision of Suzanna and how much Sam clearly loves her while her mother (Erin Evers) is more of a social climber type. She dismisses Sam for his lack of drive to become a millionaire or hailing from a good family and really wants Suzanna to marry rich, including dating George, the son of an affluent banker in their town (Jarred Bedgood) even though Suzanna has no romantic interest in him. Of course Suzanna is going to attend college and she attends a school far away from her childhood home.
"Your Name On My Lips," written and composed by Eric B. Sirota, directed by Gerald vanHeerden, presented by Theater for the New City March 2 to 19, 2017. Foreground: Matt Mitchell as Sam and Michelle Siracusa as Suzanna. Behind: Brandon Grimes and Erin Evers as Suzanna's parents. Photo by Jonathan Slaff.
While in college, Suzanna ends up meeting Phil (Clint Hromsco). Phil is another guy from money who introduces Suzanna to drugs, cocaine in particular. As Suzanna and Sam are apart and see each other sporadically, Suzanna is torn between her devotion to Sam and the siren sound of wealth, affluence and materialism. Sam faces his own temptations via his friend Jack (also played by Grimes) to go after the lovely, more in his league Kate (also played by Evers). The difference is Sam stays true to his Suzanna while Suzanna throws Sam under the bus in more ways than one.
Suzanna decides to bring cocaine to see the anti-drug, anti-alcohol Sam (whose parents were killed by a drunk driver, as we learn at Suzanna's 12th birthday party). When the police notice the drug she'd discarded, Sam took the fall for her so she would not get kicked out of school and have her life fall apart. Eventually, Sam is released on a technicality but the police officer and public defender even engage in a song called “No Girl is Worth It” to prove the utter futility of this act. Suzanna is nowhere to be found in Sam's time of need but not to worry: Fantasy Suzanna (Aja Downing) comforts him while Suzanna is being a wussy little B.
Suzanna also refers to Sam as “just a friend” while talking to George, unknowingly in Sam's earshot. However, it feels like a warning to Sam that Suzanna isn't nearly as devoted to him as he is to her. Even Suzanna's college roommate Beth (also played by Evers), who at first tells Suzanna to go live the college experience, later changes her tune about Sam. She tells Suzanna outright that if a guy felt about her the way Sam feels about Suzanna, she'd not throw that love away like Suzanna is doing.
Erin Evers (as Beth), Michelle Siracusa
Another act of betrayal is Suzanna's hooking up with Phil, which leads to her getting pregnant. While in the hospital, presumably approaching death, she claims that she loves Sam and claims to love him and that she'll have “your name on my lips.” After the doctor comes in to tell him Suzanna will be fine, he notices the diamond ring on her finger. It turns out Suzanna is pregnant with Phil's baby, is engaged to him and is a big fat liar.
I really wanted Sam to yell “Fuck you, bitch” all Eminem style in the face of all this betrayal and nastiness against him, perhaps right after the drugs scene. But alas, that's not our Sam. He acted far more graciously than just about any man in America would if confronted with such a scene. Fortunately, Fantasy Suzanna reappears and talks sense into the man so he doesn't throw away his future over a cold, materialistic liar. Sam eventually gets his full scholarship to art school and decides at the end to go pursue his dreams and leave the real Suzanna behind.
You have to wonder what poor Phil is thinking about this woman who sat here and claimed all this devotion to a guy that wasn't him. If she's not lying about her feelings for Sam, you have to wonder what type of marriage and family upbringing this kid is going to have. Will Phil eventually tire of moral duty and leave Suzanna to carry torches for other guys, maybe taking their kid with him? We learn that Phil has pure intentions toward Suzanna and wonders if she'll ever get over this other guy to feel that professed devotion toward him someday. Perhaps that child will grow up to be as cynical about marriage as I am.
Clint Hromsco, Michelle Siracusa
The cast as a whole was extremely talented & needed to be as this was essentially a musical. Jarred Bedgood is an extremely talented dancer, as we saw when Sam meets with the art dealer to decide what works he would like to buy from Sam. I also thought the songs were well done (especially “No Girl is Worth It” and “Joules/Jewels,” a song that's funny, blunt and painfully accurate), the scenes at the party were great, Beth had some great song lines that made me laugh and you definitely felt empathy for Sam.
I just lost my empathy for Suzanna around the time she was trying to get Sam to use drugs or maybe it was when she told George Sam was “just a friend.” It is absolutely nothing personal against the actress. I'm not sure what her direction and aim toward the character was but if it was to not make us have empathy or sympathy for Suzanna later, she succeeded.
I would have liked to see how Suzanna viewed herself in light of this behavior. Is she aware of how her conduct harmed Sam? Does she hold herself up as a great human being? Does she feel ANY remorse at all for playing these men? I suppose I saw none so that led to me losing any empathy toward her and really wanting her to be the recipient of an Eminem style verbal smackdown. Another random fact about me is that I have been told I think like a guy with regard to relationships so I despise fickle females like Olive Oyl from the “Popeye” cartoons.
Thank God for Fantasy Suzanna. I feel like she deserved a better introduction earlier on and the actress herself was underutilized. She brought a quiet, calming presence to the proceedings and her talking sense into Sam made me leave the show feeling a little better about humanity.
Matt Mitchell, Aja Downing
I've been to Theater for The New City a few times, even doing a show there myself once but had never been to the Johnson Theater. Nice auditorium and I liked the set design for this show. It seems the writer was also taping the show and I overheard him speaking to audience members near me about this show; he said that it was a work in progress until he got it to Broadway. Well, as a woman I would have liked to see where I could feel any real empathy for actual Suzanna later on vs. thinking she's another portrait of why men don't trust or have any loyalty to good hearted women who'd never put crass materialism ahead of true love.
I had no childhood sweetheart, often got dumped by guys in college when I wasn't having to fend off clingy psychopaths I didn't find remotely attractive, fell in love at the ripe old age of 23 and after a marriage of more than 7 years found myself thrown out into the street by the “love of my life” a mere 9 months after my father's sudden death with no real explanation except his stating “I don't want to be a subsistence farmer” and him thinking it was my duty to be his meal ticket so he could sit on his butt and do nothing.
After a very bitter divorce and 16 months as a transient in NY and CT, I have slowly been trying to make myself whole again if not better. To say that I do not believe in love and don't trust anyone is a gross understatement; I even got a tattoo many years ago commemorating the fact that true love does not exist for yours truly.
So for those of you reading this review, please bear this perspective in mind. You might agree, you might disagree but this is my honest critique.
Perhaps the night I saw this show wasn't the best time as I did have a brief panic earlier in the day that a guy I'd seen recently is & has been carrying a torch for someone else; yeah, most women and especially me do not want to deal with any guy carrying a torch that isn't for her whether you are just friends with benefits, boyfriend/girlfriend or getting engaged. *
“Your Name on My Lips” is about an artist named Sam (Matt Mitchell) who comes from a troubled family background but finds his artistic muse in a young girl named Suzanna (Michelle Siracusa). As they grow into teenagers and into high school age, they become romantically involved and Suzanna even loses her virginity to Sam.
Like many young girls, Suzanna comes from a modest, middle class background where her father (Brandon Grimes) loves Sam's vision of Suzanna and how much Sam clearly loves her while her mother (Erin Evers) is more of a social climber type. She dismisses Sam for his lack of drive to become a millionaire or hailing from a good family and really wants Suzanna to marry rich, including dating George, the son of an affluent banker in their town (Jarred Bedgood) even though Suzanna has no romantic interest in him. Of course Suzanna is going to attend college and she attends a school far away from her childhood home.
While in college, Suzanna ends up meeting Phil (Clint Hromsco). Phil is another guy from money who introduces Suzanna to drugs, cocaine in particular. As Suzanna and Sam are apart and see each other sporadically, Suzanna is torn between her devotion to Sam and the siren sound of wealth, affluence and materialism. Sam faces his own temptations via his friend Jack (also played by Grimes) to go after the lovely, more in his league Kate (also played by Evers). The difference is Sam stays true to his Suzanna while Suzanna throws Sam under the bus in more ways than one.
Suzanna decides to bring cocaine to see the anti-drug, anti-alcohol Sam (whose parents were killed by a drunk driver, as we learn at Suzanna's 12th birthday party). When the police notice the drug she'd discarded, Sam took the fall for her so she would not get kicked out of school and have her life fall apart. Eventually, Sam is released on a technicality but the police officer and public defender even engage in a song called “No Girl is Worth It” to prove the utter futility of this act. Suzanna is nowhere to be found in Sam's time of need but not to worry: Fantasy Suzanna (Aja Downing) comforts him while Suzanna is being a wussy little B.
Suzanna also refers to Sam as “just a friend” while talking to George, unknowingly in Sam's earshot. However, it feels like a warning to Sam that Suzanna isn't nearly as devoted to him as he is to her. Even Suzanna's college roommate Beth (also played by Evers), who at first tells Suzanna to go live the college experience, later changes her tune about Sam. She tells Suzanna outright that if a guy felt about her the way Sam feels about Suzanna, she'd not throw that love away like Suzanna is doing.
Another act of betrayal is Suzanna's hooking up with Phil, which leads to her getting pregnant. While in the hospital, presumably approaching death, she claims that she loves Sam and claims to love him and that she'll have “your name on my lips.” After the doctor comes in to tell him Suzanna will be fine, he notices the diamond ring on her finger. It turns out Suzanna is pregnant with Phil's baby, is engaged to him and is a big fat liar.
I really wanted Sam to yell “Fuck you, bitch” all Eminem style in the face of all this betrayal and nastiness against him, perhaps right after the drugs scene. But alas, that's not our Sam. He acted far more graciously than just about any man in America would if confronted with such a scene. Fortunately, Fantasy Suzanna reappears and talks sense into the man so he doesn't throw away his future over a cold, materialistic liar. Sam eventually gets his full scholarship to art school and decides at the end to go pursue his dreams and leave the real Suzanna behind.
You have to wonder what poor Phil is thinking about this woman who sat here and claimed all this devotion to a guy that wasn't him. If she's not lying about her feelings for Sam, you have to wonder what type of marriage and family upbringing this kid is going to have. Will Phil eventually tire of moral duty and leave Suzanna to carry torches for other guys, maybe taking their kid with him? We learn that Phil has pure intentions toward Suzanna and wonders if she'll ever get over this other guy to feel that professed devotion toward him someday. Perhaps that child will grow up to be as cynical about marriage as I am.
The cast as a whole was extremely talented & needed to be as this was essentially a musical. Jarred Bedgood is an extremely talented dancer, as we saw when Sam meets with the art dealer to decide what works he would like to buy from Sam. I also thought the songs were well done (especially “No Girl is Worth It” and “Joules/Jewels,” a song that's funny, blunt and painfully accurate), the scenes at the party were great, Beth had some great song lines that made me laugh and you definitely felt empathy for Sam.
I just lost my empathy for Suzanna around the time she was trying to get Sam to use drugs or maybe it was when she told George Sam was “just a friend.” It is absolutely nothing personal against the actress. I'm not sure what her direction and aim toward the character was but if it was to not make us have empathy or sympathy for Suzanna later, she succeeded.
I would have liked to see how Suzanna viewed herself in light of this behavior. Is she aware of how her conduct harmed Sam? Does she hold herself up as a great human being? Does she feel ANY remorse at all for playing these men? I suppose I saw none so that led to me losing any empathy toward her and really wanting her to be the recipient of an Eminem style verbal smackdown. Another random fact about me is that I have been told I think like a guy with regard to relationships so I despise fickle females like Olive Oyl from the “Popeye” cartoons.
Thank God for Fantasy Suzanna. I feel like she deserved a better introduction earlier on and the actress herself was underutilized. She brought a quiet, calming presence to the proceedings and her talking sense into Sam made me leave the show feeling a little better about humanity.
I've been to Theater for The New City a few times, even doing a show there myself once but had never been to the Johnson Theater. Nice auditorium and I liked the set design for this show. It seems the writer was also taping the show and I overheard him speaking to audience members near me about this show; he said that it was a work in progress until he got it to Broadway. Well, as a woman I would have liked to see where I could feel any real empathy for actual Suzanna later on vs. thinking she's another portrait of why men don't trust or have any loyalty to good hearted women who'd never put crass materialism ahead of true love.
Saturday, March 11, 2017
The Surreal Adventures of The Angry Redheaded Lawyer: "The Wizard of Oz" by the Harlem Repertory Theatre in association with The Yip Harburg Foundation
The timeless story of “The Wizard of Oz,” brought to life by a jazz soundtrack, modern & innovative musical numbers as well as an ethnically diverse cast (except for natural redheads, which I will get to later) is given a modern and fresh take at the Harlem Repertory Theater in association with The Yip Harburg Foundation. As background, Yip Harburg found in L. Frank Baum's classic book a story that was applicable to all races and backgrounds instead of that portrayed by the Hollywood film.
When I walked in, I was greeted by the most friendly staff and was instantly escorted to my seat right in front. For those who have never been to the Harlem Repertory Theater, it is literally an immersive experience. The audience seating is located on an uphill incline in a circle while the stage is located at the bottom and the jazz musicians were placed right next to the stage on the left. There was no problem at all with not being able to see if you were sitting in the back and the setup was traditional like when theater began in Ancient Greece but the atmosphere was far from stuffy, dull or boring. Jazz was playing as we were waiting for the show to start and whether the presence of kids had anything to do with the homey touch and feeling or not, I thought it was a wonderful vibe. In fact, this was one of the best venues I have ever seen a show in because of the warmth and comfort in the atmosphere.
The dance numbers, choreography, music and the presentation of the show was wonderful. The actors came right into the audience though no one touched audience members or made anyone feel awkward from what I observed. I like that Dorothy had on a more traditional outfit for a girl living on a farm in the first act and how the dancers moved in the tornado scene. You definitely felt that tornado hitting the farm.
Harlem Repertory Theatre, in association with The Yip Harburg Foundation, presents "The Wizard of Oz" at Tato Laviera Theatre, 240 East 123rd Street (at 2nd Ave.), Manhattan. Taylor-Rey Rivera (Dorothy) and Toto. Photo by Jonathan Slaff.
I love that the Wicked Witch of the West was a redhead. Somebody did their research on redheads (insert devilish grin here). My mother, herself a natural redhead, will tell you that “redhaired children are mean”; eventually, we grow up into redhaired adults and continue to disturb the order of things—I like to think my mere presence as a natural redhead accomplishes that. I would have liked to see a natural redhead doing something though I get the realities of rarity (we are 1-2% of the global population, after all) & if you were looking for a redhead who is also black or of Hispanic/Latin origin, then you have even more difficulty even though a couple of those redheads have spoken up on social media groups I've posted in. I face my own problems existing in a “niche” that is almost never represented nor entirely respected and regarded in many places. Apple, I'm looking at you.
Despite this, the actress who played the role (Emily Ramirez) definitely pulled off the evil and nastiness of the Wicked Witch/Myra Gulch.
Foreground: Emily Ramirez (Wicked Witch of the West), Barbyly Noel (Glenda), Taylor-Rey Rivera (Dorothy). Behind: Munchkin Ensemble. Photo by Jonathan Slaff
In fact, all of the actors were great in their roles along with the dancers. I like that all the dancers weren't your stereotypical, uniform skinny dancers who looked exactly alike. Aside from that whole redhead slight, I applaud whoever did casting in picking performers who represent everyone who might have a dream of doing this someday so kids of all body types and looks could see themselves reflected in this show. This being a show kids were invited to see, I like that someone was thinking about this issue.
L-R: Dexter Thomas-Payne (Lion), Derrick Montalvado (Scarecrow), Ben Harburg (Tin Man), Taylor-Rey Rivera (Dorothy). Photo by Jonathan Slaff.
One of the best moments in this show was when our heroes were in the castle of the Wicked Witch of the West and the Lion scares off the guards. A kid shouts out “You did it, Lion!” The actor playing the Lion (Dexter Thomas-Payne) looks in the direction that shout came from and gives the kid a thumbs up. I thought that was a sweet, impromptu moment. You could tell that the cast really liked doing this show for the kids as I saw many hang around afterwards to talk to and take pictures with them and their families. If anyone was phoning it in or merely humoring these kids, I never saw it.
Dexter Thomas-Payne as Cowardly Lion. Photo by Jonathan Slaff.
The variations from the movie we all know were also quite good. No poppies but you did see the Gale family rebuild their farm so things ended more happily for them and we saw that the tornado did in fact cause damage they had to fix vs. the movie ending where Dorothy wakes up in her bed, talks to everyone who came to see her after her injury and it ends from there. The jazz soundtrack also worked well for the story and definitely made it more universal in its scope.
When I walked in, I was greeted by the most friendly staff and was instantly escorted to my seat right in front. For those who have never been to the Harlem Repertory Theater, it is literally an immersive experience. The audience seating is located on an uphill incline in a circle while the stage is located at the bottom and the jazz musicians were placed right next to the stage on the left. There was no problem at all with not being able to see if you were sitting in the back and the setup was traditional like when theater began in Ancient Greece but the atmosphere was far from stuffy, dull or boring. Jazz was playing as we were waiting for the show to start and whether the presence of kids had anything to do with the homey touch and feeling or not, I thought it was a wonderful vibe. In fact, this was one of the best venues I have ever seen a show in because of the warmth and comfort in the atmosphere.
The dance numbers, choreography, music and the presentation of the show was wonderful. The actors came right into the audience though no one touched audience members or made anyone feel awkward from what I observed. I like that Dorothy had on a more traditional outfit for a girl living on a farm in the first act and how the dancers moved in the tornado scene. You definitely felt that tornado hitting the farm.
I love that the Wicked Witch of the West was a redhead. Somebody did their research on redheads (insert devilish grin here). My mother, herself a natural redhead, will tell you that “redhaired children are mean”; eventually, we grow up into redhaired adults and continue to disturb the order of things—I like to think my mere presence as a natural redhead accomplishes that. I would have liked to see a natural redhead doing something though I get the realities of rarity (we are 1-2% of the global population, after all) & if you were looking for a redhead who is also black or of Hispanic/Latin origin, then you have even more difficulty even though a couple of those redheads have spoken up on social media groups I've posted in. I face my own problems existing in a “niche” that is almost never represented nor entirely respected and regarded in many places. Apple, I'm looking at you.
Despite this, the actress who played the role (Emily Ramirez) definitely pulled off the evil and nastiness of the Wicked Witch/Myra Gulch.
In fact, all of the actors were great in their roles along with the dancers. I like that all the dancers weren't your stereotypical, uniform skinny dancers who looked exactly alike. Aside from that whole redhead slight, I applaud whoever did casting in picking performers who represent everyone who might have a dream of doing this someday so kids of all body types and looks could see themselves reflected in this show. This being a show kids were invited to see, I like that someone was thinking about this issue.
One of the best moments in this show was when our heroes were in the castle of the Wicked Witch of the West and the Lion scares off the guards. A kid shouts out “You did it, Lion!” The actor playing the Lion (Dexter Thomas-Payne) looks in the direction that shout came from and gives the kid a thumbs up. I thought that was a sweet, impromptu moment. You could tell that the cast really liked doing this show for the kids as I saw many hang around afterwards to talk to and take pictures with them and their families. If anyone was phoning it in or merely humoring these kids, I never saw it.
The variations from the movie we all know were also quite good. No poppies but you did see the Gale family rebuild their farm so things ended more happily for them and we saw that the tornado did in fact cause damage they had to fix vs. the movie ending where Dorothy wakes up in her bed, talks to everyone who came to see her after her injury and it ends from there. The jazz soundtrack also worked well for the story and definitely made it more universal in its scope.
Tuesday, January 31, 2017
Public Statement on My Withdrawal From One Way or Another Productions LLC
Today, I bid One Way or Another Productions LLC adieu.
For the past 9 years, I've learned a great many things from my colleagues and gotten an incredible opportunity to build a career in the entertainment industry as an executive and entertainment attorney that has gone further than I ever expected when I first came to New York City in 2007. It has been a constant among divorce, death, new opportunities and the various life changes we all (hopefully) experience in nearly a decade.
However, much like when a bird matures and eventually has to leave the nest, it is now time for me to leave the nest and fly on my own. This comes after I have been reduced to the role of figurehead, informed that the CEO does not “trust” me and after the CEO unilaterally removed/disabled the company's website, blog, email accounts, social media pages and altered an IMDB page for a project the majority of us had put blood, sweat and tears into over the course of many years.
Under attorney ethics rules and due to this unwarranted lack of trust, there is no longer a place for me in One Way or Another Productions LLC. I will not work as a mere figurehead and no one will play attorney under my name. I am disappointed and saddened that Thanksgiving with my family 1,000 miles away was deemed less important than an unpaid business conversation that could have awaited my return to New York City and never took place subsequent to Thanksgiving. I am angered that I have been cut out of legal matters concerning “my” company and that the CEO decided to improperly play attorney instead of properly delegating legal matters to me, particularly where my involvement would have saved all concerned significant time, money, stress and other expenses.
Where there is no trust, you have nothing. As there is nothing, it is now time for me to take the skills and lessons I have learned during my tenure and fly freely. I hope my colleagues will take a lesson, treat future attorneys with more respect and find happiness personally as well as professionally.
For the past 9 years, I've learned a great many things from my colleagues and gotten an incredible opportunity to build a career in the entertainment industry as an executive and entertainment attorney that has gone further than I ever expected when I first came to New York City in 2007. It has been a constant among divorce, death, new opportunities and the various life changes we all (hopefully) experience in nearly a decade.
However, much like when a bird matures and eventually has to leave the nest, it is now time for me to leave the nest and fly on my own. This comes after I have been reduced to the role of figurehead, informed that the CEO does not “trust” me and after the CEO unilaterally removed/disabled the company's website, blog, email accounts, social media pages and altered an IMDB page for a project the majority of us had put blood, sweat and tears into over the course of many years.
Under attorney ethics rules and due to this unwarranted lack of trust, there is no longer a place for me in One Way or Another Productions LLC. I will not work as a mere figurehead and no one will play attorney under my name. I am disappointed and saddened that Thanksgiving with my family 1,000 miles away was deemed less important than an unpaid business conversation that could have awaited my return to New York City and never took place subsequent to Thanksgiving. I am angered that I have been cut out of legal matters concerning “my” company and that the CEO decided to improperly play attorney instead of properly delegating legal matters to me, particularly where my involvement would have saved all concerned significant time, money, stress and other expenses.
Where there is no trust, you have nothing. As there is nothing, it is now time for me to take the skills and lessons I have learned during my tenure and fly freely. I hope my colleagues will take a lesson, treat future attorneys with more respect and find happiness personally as well as professionally.
Sunday, January 15, 2017
The Mystique of Men Has Vanished for Me
When you're young and hormones are running amok, you find whoever you're attracted to fascinating. In my case, it's straight guys. I'm not sure how that works if you're gay but when you're straight, the opposite sex is "other." Their experience is something you're never going to know and it's different from yours, not just physically but mentally. They don't get hassled for their bra sizes or have to worry about bleeding every month or deal with guys hitting on them or parents glaring at old men for checking them out/leering at them. Maybe the definitive way I could tell I was straight was when I was in college, when I gave this guy an intimate massage in a very private area the night before an Applied Calculus exam and felt such a euphoria afterward I ended up getting a good grade on it. Plus, there was Vampire Boy: I distinctly remember early on in that relationship when we'd just started doing the sexy stuff & I thought to myself "I'm definitely 100% straight since I enjoy heterosexual sex way too much." The thoughts in your 20 year old mind when you'd lost your virginity only a year beforehand.
So now I've gone through the cycle of dating, marriage, divorce and phase 1 of recovering from the divorce. I have no clue how many phases recovery has but maybe I'm in phase 2 or even a phase 3. Is Phase 3 where you discover the grass isn't as green as you thought it was and people aren't as happy as you think they are? When you learn relationships aren't what you see in the movies and a lot of guys are really bad at sex?
I went out with a few guys in the past few months only to encounter them having performance issues. One guy was younger than my last boyfriend and had this happen twice. Cute dude, worked in a professional job, had stuff in life, wasn't a selfish bastard on money or treating a girl, seemed interested. Then, no word. I remembered my law school friend telling me that a different guy was likely embarrassed and didn't talk to me again b/c of it as it related to bedroom stuff so I figured it was that. I looked back on other things with those interactions and felt like it wasn't worth my effort to even text "thanks for proving me exactly right." Maybe I really do intimidate guys like others have said?
I also figured the universe was telling me with all these guys falling short to focus on my career as I've gotten busier and more opportunities in things. I also have another vestige from the past falling away & new projects, contacts, so on and so forth. A future focus is not a bad thing. I even followed up with a random stranger who sent me a wonderfully poignant Christmas card but never heard back. She'd had my card and left her number; I Googled trying to remember where I met her but no such luck, though I learned she was indeed legit & had a spirit I'd like for myself but cynicism holds me back in many ways from it.
Another traditional mystique that's vanished for me is marriage since I had that. Divorce sucks, to say the least. If you're still suffering from the effects of it in your day to day life with less income, no space of your own, no means to do the things you'd like to do, or the relationship's ending hasn't been even half as long as the relationship you left, you're not going to want to get married again or jump into instant exclusivity. Dudes are still approaching me from my past or in my present; some guys I'm cool with talking to since I liked them as people and want to know they're doing okay or better than I last saw them. Others are a pesky intrusion.
Word to the wise: if a woman tells you "I have a type," don't ask her what her type is since that statement means you are not her type (at least if I say it). When guys have asked me to spell that out, I do and unabashed; I don't give a damn if they feel offended by it. I've even stated "my vagina isn't a restaurant; I don't have to take all comers. I can discriminate based on race, age, national origin, whatever I want." Some guys will go all used car salesman on you when you tell them your type & how they don't fit it. It's like "Dignity, dude. Get some. Go find a lady who DOES date your type instead of bothering me."
I'm puzzled why certain groups bother me. I'm not some weakling or demure little slave. Do these idiots think a NATURAL REDHEAD is going to do that stuff? Do they just think they can go tame or weaken one? If that convention of black men dating white women b/c white women are "more willing to put up with shit" is true, why the hell would any of them approach a natural redhead?!?!? Natural redheads are territorial, assertive, tough and don't suffer fools. That guy is much better off with a black woman and leaving me alone as I also happen to like my black female friends; I'm not going to rob their dating pool or be some "white bitch" who's stolen one of their men. I wonder the same thing with Indian guys as I'm not going to tolerate that mess & it's a waste of time to think I'm going to ever put up with that. The used car salesman shit doesn't work on me; it just pisses me off. Some of these men need to do some research on natural redheads with regard to personality types since we are a creature all our own.
I do my research on cultural background on guys & won't waste my time on guys from cultures that condone or encourage disrespect of women; sooner or later that culture is going to influence you and your behavior. My demands for politeness and respect and all come from my Southern upbringing. I also have major trust issues and suffered emotional abuse in some form all my life so not reliving that shit, end of story. If I think someone is going to present a high likelihood of me having to relive it, there's no point in my putting in any sort of emotional investment. Would YOU? I won't deal with Southern rednecks for the same reason.
Yeah, I tend to limit my emotional investment in people unless or until I know they can be counted on for the big things. What's really scary is that I had to say the same thing to my law school friend Psycho Boy said to me many years ago: that I don't let anyone in, I will be lonely the rest of my life if I never let anyone in and that I needed to let someone (him, in this case) in. I told my friend "this is not something I should be telling you" since he doesn't have an alcoholic parent and didn't get to see everyone in his gender getting treated like shit when they were "married" like I did. He didn't get dumped all the time like I did & have people lie to him all the time from childhood to today or pretend to be his friend when they were just lying the whole time. He wasn't betrayed by the love of his life like I was (I feel my entire marriage was a lie). I know why I'm emotionally distant & am completely justified in mine, especially now. For me, it's like "you didn't live that so you have no reason for it."
I had to work a long time to not instantly assume friendly people were hiding a sinister agenda against me or that guys were just playing head games when they claimed interest in me. I didn't tell my friend to let ME in but I told him he needed to emotionally invest in someone at some point since he's never going to be able to have a functional marriage if he can't do that. If he did do that, I'd be shocked since something tells me he's never done that & that makes me sad for him. Since I already did that with my ex, I do know that at least I am capable of it even though I may never be able to do that again.
When I told another lawyer friend about this mystique being gone for me, he asked if I'm going to be a lesbian. I'm like "No. That whole tit thing is kind of a turnoff & I like a guy's penis way too much." Plus, I think the straight rolls off me like a stench. Different strokes and all that.
I'm simply holding out for quality and certain standards being met. I figure in the meantime, I'll stick to my own company and have my own fun adventures vs. actively pursuing dudes. Watch me get $ then tell some dudes to fuck off if they act like Johnny Come Lately types. I hate leeches.
When there's no mystique, you get a new insight. You realize guys go through the same shit, they also have insecurity, their lives aren't automatically more exciting than yours, and they have flaws like anyone else. I even told a friend after showing her a pic of my last boyfriend that even a guy who looks like him has flaws. Maybe that's "adulting?"
So now I've gone through the cycle of dating, marriage, divorce and phase 1 of recovering from the divorce. I have no clue how many phases recovery has but maybe I'm in phase 2 or even a phase 3. Is Phase 3 where you discover the grass isn't as green as you thought it was and people aren't as happy as you think they are? When you learn relationships aren't what you see in the movies and a lot of guys are really bad at sex?
I went out with a few guys in the past few months only to encounter them having performance issues. One guy was younger than my last boyfriend and had this happen twice. Cute dude, worked in a professional job, had stuff in life, wasn't a selfish bastard on money or treating a girl, seemed interested. Then, no word. I remembered my law school friend telling me that a different guy was likely embarrassed and didn't talk to me again b/c of it as it related to bedroom stuff so I figured it was that. I looked back on other things with those interactions and felt like it wasn't worth my effort to even text "thanks for proving me exactly right." Maybe I really do intimidate guys like others have said?
I also figured the universe was telling me with all these guys falling short to focus on my career as I've gotten busier and more opportunities in things. I also have another vestige from the past falling away & new projects, contacts, so on and so forth. A future focus is not a bad thing. I even followed up with a random stranger who sent me a wonderfully poignant Christmas card but never heard back. She'd had my card and left her number; I Googled trying to remember where I met her but no such luck, though I learned she was indeed legit & had a spirit I'd like for myself but cynicism holds me back in many ways from it.
Another traditional mystique that's vanished for me is marriage since I had that. Divorce sucks, to say the least. If you're still suffering from the effects of it in your day to day life with less income, no space of your own, no means to do the things you'd like to do, or the relationship's ending hasn't been even half as long as the relationship you left, you're not going to want to get married again or jump into instant exclusivity. Dudes are still approaching me from my past or in my present; some guys I'm cool with talking to since I liked them as people and want to know they're doing okay or better than I last saw them. Others are a pesky intrusion.
Word to the wise: if a woman tells you "I have a type," don't ask her what her type is since that statement means you are not her type (at least if I say it). When guys have asked me to spell that out, I do and unabashed; I don't give a damn if they feel offended by it. I've even stated "my vagina isn't a restaurant; I don't have to take all comers. I can discriminate based on race, age, national origin, whatever I want." Some guys will go all used car salesman on you when you tell them your type & how they don't fit it. It's like "Dignity, dude. Get some. Go find a lady who DOES date your type instead of bothering me."
I'm puzzled why certain groups bother me. I'm not some weakling or demure little slave. Do these idiots think a NATURAL REDHEAD is going to do that stuff? Do they just think they can go tame or weaken one? If that convention of black men dating white women b/c white women are "more willing to put up with shit" is true, why the hell would any of them approach a natural redhead?!?!? Natural redheads are territorial, assertive, tough and don't suffer fools. That guy is much better off with a black woman and leaving me alone as I also happen to like my black female friends; I'm not going to rob their dating pool or be some "white bitch" who's stolen one of their men. I wonder the same thing with Indian guys as I'm not going to tolerate that mess & it's a waste of time to think I'm going to ever put up with that. The used car salesman shit doesn't work on me; it just pisses me off. Some of these men need to do some research on natural redheads with regard to personality types since we are a creature all our own.
I do my research on cultural background on guys & won't waste my time on guys from cultures that condone or encourage disrespect of women; sooner or later that culture is going to influence you and your behavior. My demands for politeness and respect and all come from my Southern upbringing. I also have major trust issues and suffered emotional abuse in some form all my life so not reliving that shit, end of story. If I think someone is going to present a high likelihood of me having to relive it, there's no point in my putting in any sort of emotional investment. Would YOU? I won't deal with Southern rednecks for the same reason.
Yeah, I tend to limit my emotional investment in people unless or until I know they can be counted on for the big things. What's really scary is that I had to say the same thing to my law school friend Psycho Boy said to me many years ago: that I don't let anyone in, I will be lonely the rest of my life if I never let anyone in and that I needed to let someone (him, in this case) in. I told my friend "this is not something I should be telling you" since he doesn't have an alcoholic parent and didn't get to see everyone in his gender getting treated like shit when they were "married" like I did. He didn't get dumped all the time like I did & have people lie to him all the time from childhood to today or pretend to be his friend when they were just lying the whole time. He wasn't betrayed by the love of his life like I was (I feel my entire marriage was a lie). I know why I'm emotionally distant & am completely justified in mine, especially now. For me, it's like "you didn't live that so you have no reason for it."
I had to work a long time to not instantly assume friendly people were hiding a sinister agenda against me or that guys were just playing head games when they claimed interest in me. I didn't tell my friend to let ME in but I told him he needed to emotionally invest in someone at some point since he's never going to be able to have a functional marriage if he can't do that. If he did do that, I'd be shocked since something tells me he's never done that & that makes me sad for him. Since I already did that with my ex, I do know that at least I am capable of it even though I may never be able to do that again.
When I told another lawyer friend about this mystique being gone for me, he asked if I'm going to be a lesbian. I'm like "No. That whole tit thing is kind of a turnoff & I like a guy's penis way too much." Plus, I think the straight rolls off me like a stench. Different strokes and all that.
I'm simply holding out for quality and certain standards being met. I figure in the meantime, I'll stick to my own company and have my own fun adventures vs. actively pursuing dudes. Watch me get $ then tell some dudes to fuck off if they act like Johnny Come Lately types. I hate leeches.
When there's no mystique, you get a new insight. You realize guys go through the same shit, they also have insecurity, their lives aren't automatically more exciting than yours, and they have flaws like anyone else. I even told a friend after showing her a pic of my last boyfriend that even a guy who looks like him has flaws. Maybe that's "adulting?"
Tuesday, December 20, 2016
The Surreal Adventures of The Angry Redheaded Lawyer: "An Italian Miracle" presented by La Mama with the works of Dario D'Ambrosi
On December 12, I had the pleasure of attending this event which was an evening of performance, film screening of the works of Dario D'Ambrosi and a New York City introduction to “The Integrated Theater of Emotion.” “The Integrated Theater of Emotion” is a university level program for mentally disabled people created by Italian actor/director Dario D'Ambrosi, who is also the founder of a theatrical movement called Pathological Theater (Teatro Patologico). The program itself is for people with mental disabilities such as schizophrenia, autism, Down Syndrome or catatonic to academically and professionally participate in careers in theater arts in all aspects, not just the acting realm.
At La Mama December 12, Actress Celeste Moratti served as interpreter at "An Italian Miracle," an evening of a performance, panel discussion and film screening, to introduce New York to "The Integrated Theatre of Emotion," a university-level program for mentally disabled people that has been established by Italian actor/director Dario D'Ambrosi. Photo by Jonathan Slaff
The panel discussion planned for this event was not able to happen due to the Italian government officials who'd planned to participate being unable to attend. Nonetheless, this was an immersive evening and very educational on the whole. The food from Serafina Restaurant was also delicious, as I figured it should be. I remember walking by a location near the Westchester Supreme Court, seeing a sign they had regarding giving your mate the gift of a meal there & “she will love you forever” and being reminded of Quinn Morgendorfer from the '90s show “Daria” always trying to get guys to take her to Chez Pierre (a pricey place in the fictional town of Lawndale where the show takes place, presumably the most expensive place in town); I even posted a picture of that flyer on Instagram and remarked that Serafina is apparently the Chez Pierre of White Plains.
The first presentation we saw was scenes from “The Buzzing of the Flies,” a play by Dario D'Ambrosi with Greta Scacchi and Giorgio Colangeli. This is a story about a group of scientists and psychiatrists trying to return folly to the earth, in order to fight boredom and depression that has resulted from a world where madness has been eliminated. A SWAT team is dispatched to capture 3 different crazy people: a temperamental painter whose wife and child have left him (Franco Brunelli, whose son is introduced at the beginning of the piece seeking answers from the lead psychologist involved in the project), a child who lives in his own mind and wears headphones and a gifted piano player whose gift was suppressed by his family and spends his time counting the butterflies he mentions to a member of the SWAT team sent to retrieve him.
Scene from "The Buzzing of the Flies" by Dario D'Ambrosi.
Eventually the trio bond and we learn that one of the scientists at the facility (Dr. Natalia) also has a mental disorder she has shielded from her colleagues and superior. She thinks it's wrong to “amp up” the trio's psychoses to drive them over the edge for the sake of this “experiment” and helps them escape from the institute by running away instead of committing suicide as they'd originally planned after the “treatment” designed to serve as a form of “therapy.”
There was also a live presentation of the “Integrated Theater of Emotion” university course and a screening of “An Italian Miracle” to illustrate to the audience what this program is all about.
Finally, we were treated to the film “L'Uomo Gall – Days of Antonio” by Dario D'Ambrosi with Celeste Moratti, Luca Lionello and Dario D'Ambrosi. Antonio is a boy from a poor rural province outside Milan who was born mentally handicapped and with one leg shorter than the other. His parents banished him to live in a chicken coop, where he considered himself a rooster and acted as a chicken. Eventually, he is taken to a psychiatric hospital where he tries to live a more normal life. His roommate, played by Dario D'Ambrosi, despises him at first but eventually grows to feel empathy and affection toward Antonio despite Antonio's not living up to his standards of order and cleanliness. The group of characters we meet at the hospital include one actress who was in attendance for this event. She played Antonio, the boy who thinks himself a rooster. This film takes places in the 1920s though I was reminded often of “One Flew Over the Cuckoo's Nest.” Specifically, it felt like “One Flew Over the Cuckoo's Next” times a million in the anguish and badness factor. There is no way you'd get away with doing a film like this in the US and the atrocities you see Antonio go through leave the viewer not being able to help but feel empathy for him. However, there were also light moments in the film such as when the patients are taken to the beach and the girl who's always naked and drawing on herself with lipstick goes right into the ocean sans clothing and feels “right at home.”
Celeste Moratti in "Days of Antonio." Photo courtesy of Teatro Patologio.
I know nothing of the culture in Italy with regard to mental illness but from my understanding of these pieces, it seems many people are confused about it and perhaps also in denial about it. It also feels like there is an element of shame to mental illness which is definitely still present today though it might be more subtle than in earlier decades. Granted it's not like we can say the United States is highly evolved on the subject for a second but I wonder how the perception of mental illness in the US vs. Italy differs and whether one country treats those will mental illnesses better or worse.
My own nephew is autistic and my sister says she doesn't think about what his future is going to be. He is also very high functioning and has gotten some good resources where he lives despite living in a smaller town and state than where this program is offered in Italy or where there are more funds for autistic children like New York City. She deals with his own outbursts and not being able to communicate with him sometimes along with plenty of people not being understanding of his condition. Some relatives outright told her he couldn't come to events or visit because of his autism, which has caused a lot of issues with people.
From what I heard about this program and its aims, which is not to put these people in straight jackets and force them to adapt to society but to use their outbursts and differences in the theatrical arts in order to employ them in a positive and more pro-social way I think it would be great to have something similar in the United States. The aim is not for the students to have talent or get all cues perfectly but to employ their own vision and who they are into the programs they participate in. I certainly fight to have my own space where being myself is an asset instead of something I have to hide. That is something I have attempted to create in being an entertainment attorney who does legal work but also does things like writing reviews, modeling in fashion shows, acting, and other pursuits not typically associated with attorneys.
So if I get to live life on my terms, then why shouldn't anyone else have that opportunity and space for that purpose? I can see what this program is trying to do and applaud the effort.
A huge thumbs up to the actors involved in the presentations and the individuals involved in this event. As an actress, I'm certainly familiar with the challenges involved in working on these projects and properly bringing heart, soul and an ability to relate to these characters. Those involved did a great job of translating that to the audience.
The panel discussion planned for this event was not able to happen due to the Italian government officials who'd planned to participate being unable to attend. Nonetheless, this was an immersive evening and very educational on the whole. The food from Serafina Restaurant was also delicious, as I figured it should be. I remember walking by a location near the Westchester Supreme Court, seeing a sign they had regarding giving your mate the gift of a meal there & “she will love you forever” and being reminded of Quinn Morgendorfer from the '90s show “Daria” always trying to get guys to take her to Chez Pierre (a pricey place in the fictional town of Lawndale where the show takes place, presumably the most expensive place in town); I even posted a picture of that flyer on Instagram and remarked that Serafina is apparently the Chez Pierre of White Plains.
The first presentation we saw was scenes from “The Buzzing of the Flies,” a play by Dario D'Ambrosi with Greta Scacchi and Giorgio Colangeli. This is a story about a group of scientists and psychiatrists trying to return folly to the earth, in order to fight boredom and depression that has resulted from a world where madness has been eliminated. A SWAT team is dispatched to capture 3 different crazy people: a temperamental painter whose wife and child have left him (Franco Brunelli, whose son is introduced at the beginning of the piece seeking answers from the lead psychologist involved in the project), a child who lives in his own mind and wears headphones and a gifted piano player whose gift was suppressed by his family and spends his time counting the butterflies he mentions to a member of the SWAT team sent to retrieve him.
Eventually the trio bond and we learn that one of the scientists at the facility (Dr. Natalia) also has a mental disorder she has shielded from her colleagues and superior. She thinks it's wrong to “amp up” the trio's psychoses to drive them over the edge for the sake of this “experiment” and helps them escape from the institute by running away instead of committing suicide as they'd originally planned after the “treatment” designed to serve as a form of “therapy.”
There was also a live presentation of the “Integrated Theater of Emotion” university course and a screening of “An Italian Miracle” to illustrate to the audience what this program is all about.
Finally, we were treated to the film “L'Uomo Gall – Days of Antonio” by Dario D'Ambrosi with Celeste Moratti, Luca Lionello and Dario D'Ambrosi. Antonio is a boy from a poor rural province outside Milan who was born mentally handicapped and with one leg shorter than the other. His parents banished him to live in a chicken coop, where he considered himself a rooster and acted as a chicken. Eventually, he is taken to a psychiatric hospital where he tries to live a more normal life. His roommate, played by Dario D'Ambrosi, despises him at first but eventually grows to feel empathy and affection toward Antonio despite Antonio's not living up to his standards of order and cleanliness. The group of characters we meet at the hospital include one actress who was in attendance for this event. She played Antonio, the boy who thinks himself a rooster. This film takes places in the 1920s though I was reminded often of “One Flew Over the Cuckoo's Nest.” Specifically, it felt like “One Flew Over the Cuckoo's Next” times a million in the anguish and badness factor. There is no way you'd get away with doing a film like this in the US and the atrocities you see Antonio go through leave the viewer not being able to help but feel empathy for him. However, there were also light moments in the film such as when the patients are taken to the beach and the girl who's always naked and drawing on herself with lipstick goes right into the ocean sans clothing and feels “right at home.”
I know nothing of the culture in Italy with regard to mental illness but from my understanding of these pieces, it seems many people are confused about it and perhaps also in denial about it. It also feels like there is an element of shame to mental illness which is definitely still present today though it might be more subtle than in earlier decades. Granted it's not like we can say the United States is highly evolved on the subject for a second but I wonder how the perception of mental illness in the US vs. Italy differs and whether one country treats those will mental illnesses better or worse.
My own nephew is autistic and my sister says she doesn't think about what his future is going to be. He is also very high functioning and has gotten some good resources where he lives despite living in a smaller town and state than where this program is offered in Italy or where there are more funds for autistic children like New York City. She deals with his own outbursts and not being able to communicate with him sometimes along with plenty of people not being understanding of his condition. Some relatives outright told her he couldn't come to events or visit because of his autism, which has caused a lot of issues with people.
From what I heard about this program and its aims, which is not to put these people in straight jackets and force them to adapt to society but to use their outbursts and differences in the theatrical arts in order to employ them in a positive and more pro-social way I think it would be great to have something similar in the United States. The aim is not for the students to have talent or get all cues perfectly but to employ their own vision and who they are into the programs they participate in. I certainly fight to have my own space where being myself is an asset instead of something I have to hide. That is something I have attempted to create in being an entertainment attorney who does legal work but also does things like writing reviews, modeling in fashion shows, acting, and other pursuits not typically associated with attorneys.
So if I get to live life on my terms, then why shouldn't anyone else have that opportunity and space for that purpose? I can see what this program is trying to do and applaud the effort.
A huge thumbs up to the actors involved in the presentations and the individuals involved in this event. As an actress, I'm certainly familiar with the challenges involved in working on these projects and properly bringing heart, soul and an ability to relate to these characters. Those involved did a great job of translating that to the audience.
Monday, December 12, 2016
The Surreal Adventures of The Angry Redheaded Lawyer "Anna Christie," a play by Eugene O'Neill
Eugene O'Neill's story, “Anna Christie” (directed by Peter Richards) is the tale of a young woman who returns to the town where her father lives to get away from some unpleasantness in her past and accompanies him on his barge where she finds love and has to grapple with her role as a woman of her time along with the expectations of both her father and her love. Can you say “relevant?” How many women are still judged for the things Anna finds herself being denigrated for and forced to survive in a world where a man certainly won't take care of them nor look out for their best interests?
Photo by Maria Baranova - Glenna Freedman PR
I absolutely love this venue. The Wild Project is set up in a space with raised seating as you go up in the rows and is a more traditional venue in the midst of apartment buildings in the East Village, an area where you'd be more likely to see something underground and more hipster like. The raised seating is awesome for being able to see a show without having to contort around someone who's taller or has a fatter head. I also appreciate the reserved seating in a portion of the auditorium where I didn't feel like I was being put on the spot or going to be harassed by anyone when I was simply there to write this review.
Photo by Maria Baranova - Glenna Freedman PR
That being said, the acting in this show was without a doubt superb. I also liked the realistic atmosphere with the fog and cigarette smoking of the early scenes between Anna Christopherson (Therese Plaehn) and Marthy Ownen (Tina Johnson), a lady friend of Anna's father Chris Christopherson (Stephen D'Ambrose). You can definitely see the love Chris has for his daughter though he's absolutely aghast at the horrors Anna has endured by living on the farm and eventually turning to prostitution despite his trying to make life better for her than growing up on the high seas with him.
Photo by Maria Baranova - Glenna Freedman PR
The end of Anna's story should give womankind some hope. Her prospective fiance, a rescued sailor named Mat Burke (Ben Chase) does eventually accept her for doing what she must to survive, believes that she loves him and that she isn't going to return to her past dealings as a prostitute. I did wonder there since oftentimes in real life, even in today's time, the suitor of a woman who'd been raped by a relative who eventually turns to prostitution in order to survive on her own instead of having to remain in the prison created by her rapist would likely prove to be a liar in claiming to love her.
Photo by Maria Baranova - Glenna Freedman PR
Of course, one can't forget about the dedicated and sage Johnny-The Priest (Scott Aiello) who keeps our lead characters comfortably satiated with their drinks and listens when they speak. He was definitely accurate as a bartender to where I hope the actors weren't given real alcohol while performing.
Photo by Maria Baranova - Glenna Freedman PR
This show is definitely worth seeing and if you aren't the type who is sensitive to herbal cigarette smell or water based fog, you will definitely see parallels to your own life if you are a parent, a person who's had to fight for acceptance in life or have had to deal with an older relative who didn't approve of your relationship with his or her offspring/niece or nephew/grandkid/etc. Universal and timeless stories are a hit with me and this show was no exception.
Photo by Maria Baranova - Glenna Freedman PR
I absolutely love this venue. The Wild Project is set up in a space with raised seating as you go up in the rows and is a more traditional venue in the midst of apartment buildings in the East Village, an area where you'd be more likely to see something underground and more hipster like. The raised seating is awesome for being able to see a show without having to contort around someone who's taller or has a fatter head. I also appreciate the reserved seating in a portion of the auditorium where I didn't feel like I was being put on the spot or going to be harassed by anyone when I was simply there to write this review.
That being said, the acting in this show was without a doubt superb. I also liked the realistic atmosphere with the fog and cigarette smoking of the early scenes between Anna Christopherson (Therese Plaehn) and Marthy Ownen (Tina Johnson), a lady friend of Anna's father Chris Christopherson (Stephen D'Ambrose). You can definitely see the love Chris has for his daughter though he's absolutely aghast at the horrors Anna has endured by living on the farm and eventually turning to prostitution despite his trying to make life better for her than growing up on the high seas with him.
The end of Anna's story should give womankind some hope. Her prospective fiance, a rescued sailor named Mat Burke (Ben Chase) does eventually accept her for doing what she must to survive, believes that she loves him and that she isn't going to return to her past dealings as a prostitute. I did wonder there since oftentimes in real life, even in today's time, the suitor of a woman who'd been raped by a relative who eventually turns to prostitution in order to survive on her own instead of having to remain in the prison created by her rapist would likely prove to be a liar in claiming to love her.
Of course, one can't forget about the dedicated and sage Johnny-The Priest (Scott Aiello) who keeps our lead characters comfortably satiated with their drinks and listens when they speak. He was definitely accurate as a bartender to where I hope the actors weren't given real alcohol while performing.
This show is definitely worth seeing and if you aren't the type who is sensitive to herbal cigarette smell or water based fog, you will definitely see parallels to your own life if you are a parent, a person who's had to fight for acceptance in life or have had to deal with an older relative who didn't approve of your relationship with his or her offspring/niece or nephew/grandkid/etc. Universal and timeless stories are a hit with me and this show was no exception.
Monday, December 5, 2016
The Surreal Adventures of The Angry Redheaded Lawyer: "I Love Being Here With You" featuring Natalie Arneson
After seeing Natalie's last show “Mama Drama,” (http://www.womanaroundtown.com/sections/playing-around/mama-drama-sentimental-and-a-must-see-for-young-mothers-in-nyc-2) I was looking forward to seeing her next show. Her latest installment, a tribute to Peggy Lee entitled “I Love Being Here With You,” did not disappoint.
This show offered the perfect pairing with the famous Don't Tell Mama, a venue I'd heard raves about for years and wanted to go to but had never had the opportunity to patronize. It's a small but very intimate, cozy setting with a staff whose caring shines through. Don't Tell Mama was definitely a proper setting for this tribute to the gifted, unique and sassy Peggy Lee who I didn't know very much about but who definitely sounds like a woman after my own heart in many ways.
From “Mama Drama,” we heard the Disney Princess side of Natalie's voice. In this show, we hear Jazz Natalie. Under the musical direction of Matt Baker (who doubles as the pianist in this musical journey alongside bassist Adam Kabak and drummer Pete Zimmer), we are taken on a journey into the world of one of the most prolific, unique and bold women to ever live in her own time or anyone else's. Peggy Lee was a woman of depth, vision and timelessness. She is the person responsible for Ray Charles, as she gave him the opportunity to share his musical talents with the world while others of her day turned him away due to his drug problems. She also wrote the score to “Lady and the Tramp,” retired at the age of 23 but came back to the music industry after a relentless pursuit by the newly formed Capitol Records and clearly held her own in a world where men typically called the shots.
Natalie brings Peggy's catalog to life and demonstrates how timeless Peggy Lee's music and story really are. “My Man,” for instance is the lament of Everywoman, especially the single women of New York City. We have “Fever,” “It's a Good Day,” “He's a Tramp” and countless other musical gems which Natalie delivers with heart along with stories of Peggy's life and times delivered with a comfortable charm and ease. This show reminded me of events I have seen through a friend's musical collective called The Salon, which is responsible for a yearly party called the Liberty Belle Spectacular (among other events).
The music was definitely rocking and you just felt like dancing at points. The show is definitely family friendly (as I saw young children here), accurate to the era but also modern at the same time. My guest pointed out some performance shortcomings but these were not things I noticed and regardless of if any exist, this was still a show I enjoyed and would recommend to others.
This show offered the perfect pairing with the famous Don't Tell Mama, a venue I'd heard raves about for years and wanted to go to but had never had the opportunity to patronize. It's a small but very intimate, cozy setting with a staff whose caring shines through. Don't Tell Mama was definitely a proper setting for this tribute to the gifted, unique and sassy Peggy Lee who I didn't know very much about but who definitely sounds like a woman after my own heart in many ways.
From “Mama Drama,” we heard the Disney Princess side of Natalie's voice. In this show, we hear Jazz Natalie. Under the musical direction of Matt Baker (who doubles as the pianist in this musical journey alongside bassist Adam Kabak and drummer Pete Zimmer), we are taken on a journey into the world of one of the most prolific, unique and bold women to ever live in her own time or anyone else's. Peggy Lee was a woman of depth, vision and timelessness. She is the person responsible for Ray Charles, as she gave him the opportunity to share his musical talents with the world while others of her day turned him away due to his drug problems. She also wrote the score to “Lady and the Tramp,” retired at the age of 23 but came back to the music industry after a relentless pursuit by the newly formed Capitol Records and clearly held her own in a world where men typically called the shots.
Natalie brings Peggy's catalog to life and demonstrates how timeless Peggy Lee's music and story really are. “My Man,” for instance is the lament of Everywoman, especially the single women of New York City. We have “Fever,” “It's a Good Day,” “He's a Tramp” and countless other musical gems which Natalie delivers with heart along with stories of Peggy's life and times delivered with a comfortable charm and ease. This show reminded me of events I have seen through a friend's musical collective called The Salon, which is responsible for a yearly party called the Liberty Belle Spectacular (among other events).
The music was definitely rocking and you just felt like dancing at points. The show is definitely family friendly (as I saw young children here), accurate to the era but also modern at the same time. My guest pointed out some performance shortcomings but these were not things I noticed and regardless of if any exist, this was still a show I enjoyed and would recommend to others.
Sunday, November 20, 2016
The Surreal Adventures of The Angry Redheaded Lawyer: "Vera & Valya & The Magical One Cat Circus" by Reckless Tricycle
Reckless Tricycle, a self described “young company interested in clowns, animals, dark farces and dumb ideas turned beautiful” brings its first offering to the New York stage in “Vera & Valya & The Magical One Cat Circus” at Standard Toykraft in Williamsburg, Brooklyn. This show is “a farce based on age old Russian fairy tales.” Though this is no way my field of expertise, I did find this show very entertaining.
This is the tale of two sisters, Vera (Sarah Traisman) and Valya (Nadja Leonhard-Hooper) who are cursed in their own ways. Vera is incapable of telling a lie at all and Valya falls in love with anyone who comes through the door to their small home out in the middle of nowhere part of Russia. Vera and Valya desperately want the great Victor Voronin (Jeremy Brick), the owner of the Moscow Cat Theater to recruit their magical cat Skaza (which means “furry tail”) for his show. Vera wrote Victor Voronin some years back and the sisters continue to train and await his arrival to see their great cat Skaza in action.
Reckless Tricycle, a young-and-hungry troupe of comedic writer/actors, makes its New York debut with "Vera & Valya & The Magical One Cat Circus," a farce based on age-old Russian fairytales, November 3 to 19, 2016 at Standard ToyKraft, 722 Metropolitan Ave., Brooklyn. The piece is conceived and written by Nadja Leonhard-Hooper and co-directed by her and Olivia McGiff with dramaturgy by Liesl Schillinger. L: Nadja Leonhard-Hooper as Vera. C: Collin Knopp-Schwyn as the Cat. R: Sarah Traisman as Valya. Photo by Jonathan Slaff.
Meanwhile Andrei (Patrick Brady), a detective who hunts for missing children, poses as Victor Voronin and proclaims that the sisters have actually tricked a small boy into believing he is a cat. As the sisters can't have their cat taken away if they want to achieve glory in the Moscow Cat Theater, they tie Andrei up until they can figure out what to do. While they are deciding Andrei's fate, the real Victor Voronin arrives to see this amazing act he's heard so much about.
Vera and Valya believe the Moscow Cat Theater is a theater patronized by cats but it turns out the cats are only the performers. Victor wants Skaza for their act but the sisters declare that Skaza only performs for other cats. Andrei escapes, the cast suddenly launches into a musical number and each sister's curse ends up being broken. Vera tells Victor where he can create the illusion of a magical cat that turns out to lead to the home of Baba Yaga, a which who will eat him just as she does all the capitalists. Valya declares she is no longer in love with Victor after he threatens to make Vera disappear.
In the absurd comedy "Vera & Valya & The Magical One Cat Circus" by Nadja Leonhard-Hooper, two sisters of Yaroslavl train a magical cat, hoping someday to join the illustrious Moscow Cat Theatre. L-R: Nadja Leonhard-Hooper as Vera, one of the two sisters (who falls in love with everone who comes through her door), Patrick Brady as a detective impersonating the producer of the Moscow Cat Theatre, Sarah Traisman as Valya, the other sister (who cannot tell a lie). Photo by Jonathan Slaff.
The venue is a literal warehouse space in so “underground” theater. If you long for the days where you could go to a show without pretension, barriers or stuffiness, you definitely have to check out Standard Toykraft in particular. I felt like I was attending a show in someone's indoor backyard in terms of design and lighting and loved the informality of the setting. They even had benches on the side for seating and a hanging basket chair in the lobby I had fun sitting and swinging in.
However, one should not equate informality to amateurism. This cast was amazing, especially Collin Knopp-Schwyn, who played Skazka (the magical cat). He conducted himself as a better cat than any human performer I have seen. He did the cat movements pitch perfect and sold this brilliantly even when I was watching and wondered if he was going to be able to keep the cat movements such as jumping. I love when he moved the hoop down to his level to jump through it with his “paw” as that's something my old cat Stormy would do if you held a treat up too high for his liking. In a twist of irony, Stormy was a Russian Blue.
There was interaction with the audience, a live mirroring exercise between the two Victors, a calling out of the accordion player who provided musical accompaniment and plenty of funny moments. No dull moments in this one though I'm not sure if this is the show to take small children to unless you are a more liberal parent. Teens would be fine, perhaps older or more precious children could understand and follow the humor of this story.
Here's hoping we see more from Reckless Tricycle through The Tank or some other venue.
Front row-- L: Sarah Traisman as Valya, C: Collin Knopp-Schwyn as the Cat, R: Nadja Leonhard-Hooper as Vera. Behind-- L: Patrick Brady as a detective impersonating the producer of the Moscow Cat Theatre. R: Jeremy Brick as Producer of the Moscow Cat Theatre. Photo by Jonathan Slaff.
This is the tale of two sisters, Vera (Sarah Traisman) and Valya (Nadja Leonhard-Hooper) who are cursed in their own ways. Vera is incapable of telling a lie at all and Valya falls in love with anyone who comes through the door to their small home out in the middle of nowhere part of Russia. Vera and Valya desperately want the great Victor Voronin (Jeremy Brick), the owner of the Moscow Cat Theater to recruit their magical cat Skaza (which means “furry tail”) for his show. Vera wrote Victor Voronin some years back and the sisters continue to train and await his arrival to see their great cat Skaza in action.
Meanwhile Andrei (Patrick Brady), a detective who hunts for missing children, poses as Victor Voronin and proclaims that the sisters have actually tricked a small boy into believing he is a cat. As the sisters can't have their cat taken away if they want to achieve glory in the Moscow Cat Theater, they tie Andrei up until they can figure out what to do. While they are deciding Andrei's fate, the real Victor Voronin arrives to see this amazing act he's heard so much about.
Vera and Valya believe the Moscow Cat Theater is a theater patronized by cats but it turns out the cats are only the performers. Victor wants Skaza for their act but the sisters declare that Skaza only performs for other cats. Andrei escapes, the cast suddenly launches into a musical number and each sister's curse ends up being broken. Vera tells Victor where he can create the illusion of a magical cat that turns out to lead to the home of Baba Yaga, a which who will eat him just as she does all the capitalists. Valya declares she is no longer in love with Victor after he threatens to make Vera disappear.
The venue is a literal warehouse space in so “underground” theater. If you long for the days where you could go to a show without pretension, barriers or stuffiness, you definitely have to check out Standard Toykraft in particular. I felt like I was attending a show in someone's indoor backyard in terms of design and lighting and loved the informality of the setting. They even had benches on the side for seating and a hanging basket chair in the lobby I had fun sitting and swinging in.
However, one should not equate informality to amateurism. This cast was amazing, especially Collin Knopp-Schwyn, who played Skazka (the magical cat). He conducted himself as a better cat than any human performer I have seen. He did the cat movements pitch perfect and sold this brilliantly even when I was watching and wondered if he was going to be able to keep the cat movements such as jumping. I love when he moved the hoop down to his level to jump through it with his “paw” as that's something my old cat Stormy would do if you held a treat up too high for his liking. In a twist of irony, Stormy was a Russian Blue.
There was interaction with the audience, a live mirroring exercise between the two Victors, a calling out of the accordion player who provided musical accompaniment and plenty of funny moments. No dull moments in this one though I'm not sure if this is the show to take small children to unless you are a more liberal parent. Teens would be fine, perhaps older or more precious children could understand and follow the humor of this story.
Here's hoping we see more from Reckless Tricycle through The Tank or some other venue.
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