Too many Mornings

I didn't think my previous post did any justice to the spectacular production of Follies that I saw last weekend. Wow, was it really only a week ago? Holy crap...

Anyway.

I just wanted to talk about a few things that I liked about the show; now I realized that not everyone reading this is as into theatre as I am, so no worries I will provide you with a brief synopsis courtesy of the official site:

Past and present, dreams and reality collide for one triumphant, haunting and unforgettable night when former members of the "Weismann's Follies" reunite on the eve of their theater's demolition. Two couples remember their glorious past and face the harsher realities of the present as the shadows of their younger selves remind them of the complicated steps they've danced—both on the stage and throughout their lives.

Basically two couples meet in a dilapidated theatre, take a not so jolly trip down memory lane and the shit hits the fan.

The title alone should give you a clue that this is more than just a show about a theatre being torn down, it has a much deeper, more haunting meaning: the follies of human beings. The ambiance of the set was truly wonderful, when you first sit down in the theatre you really feel like you're sitting in a run-down, moldy, enigmatic theatre that is about to be torn down. I definitely give a huge round of applause to the amazing creative team, because they truly did a wonderful job in creating that world. The staging was just a dream, there was always a glamourous "Weismann girl" in the shadows to remind the audience of the greatness this particular theatre once held. I think it was some of the best staging I've seen in a long time.

Another thing that was very enjoyable for me was the way that the show flowed, because the premise of the story is entirely based on the different characters' memories, it was very fragmented. For me, that was the beautiful thing about it because our minds, especially when it comes to memories, are not consistent all the time; there are times when we remember things and they are not in chronological order, for most people they're fragmented and in bits and pieces, leaving us to put them together like a puzzle. The music was woven seamlessly into the show, Sondheim's genius really shines in this because the music is just as fragmented; each song is a display of the raw emotion the character is feeling, there is no other way for them to get that feeling across except through song. It truly was wonderful.

As you've probably already seen from the links posted, Bernadette Peters is starring as Sally Durant Plummer. If you don't know who Bernadette Peters is, I suggest you click here and here....quickly read before I come find you. This is the second time I've seen her live, and to be honest I wasn't impressed the first time because I preferred her predecessor in A Little Night Music. Not hatin' I just didn't think she was right for the part. I was very, very pleased with her performance as Sally. She breathed a sense of fragility and longing into Sally, portraying her as a woman who is on the end of her rope, a woman that longs for a second chance so she can have the life she dreamed of. Sally is a character that really, really, REALLY got on my nerves...but I also pitied her immensely, even if she had a few bats in her belfry. Bernadette Peters is a legend for a reason, someone didn't just say "Oh lets slap the Legend sticker on her!" No, she earned it through her pipes and talent as an actress; this show also showcased that she can still dance too. I consider myself very lucky, and am very humbled by the fact that this is the second time I've seen her live; I'm also very happy that I got to share it with someone who had never seen her before.

Jan Maxwell....oh let me count the ways. I had never seen her live before, and knew very little about her except that she was awesome. People don't get nominated four times for a Tony just by being mediocre unless you're sleeping with or blackmailing someone in the Wing. Jan Maxwell's performance was absolutely phenomenal. She was such a commanding presence, the character of Phyllis Rogers Stone just came so naturally to her. Did I mention that she was HIT BY A CAR like a few weeks earlier? You wouldn't have known it by the way she was performing, she simply blew me away. Do yourself a favor and see what I mean.

This musical really reminded me why I'm such a fan of Sondheim, why I have no trouble going to see a Sondheim musical that I know nothing about, because usually it's a musical that speaks to human nature. Sondheim's lyrics and music are a roadmap of the human mind and spirit, each lyric is something that everyone has felt or known someone to feel. This musical wasn't any different, on the way home my friend even said "I've had one of those moments." I too have sometimes felt the way Phyllis has felt, or even (God help me) the way Sally felt; if I didn't truly know what it was to feel that way, I definitely know someone who has.

That's the beauty of the theatre, it shows other human beings what it means to be a human being.

Hello Little Dream, Hello.

"I regard the theatre as the greatest of all art forms, the most immediate way in which a human being can share with another the sense of what it is to be a human being." - Oscar Wilde

I should be doing the immense amount of work that I've shamelessly procrastinated doing. But I was so overwhelmed with thoughts and emotions that I just had to get this down, besides I've been in school this long...whats a few more semesters?

I think that it is quite obvious that I love New York, and I've gushed several times about shows and the things I do when I am in the one place that I can truly disappear from the world; for a few days I don't have to worry about anything because I'm too far away to do a damn thing about it. Irresponsible? Perhaps, but I find a little irresponsibility now and then saves sanity in a world that can be terribly suffocating with all of its responsibility.

But I digress...

As always this weekend in New York was magical, and I think what makes each visit more magical (and more addicting) than the other is the obvious: the amazing people that I get to share this experience with. The gang was all together again and we had a new member to add to our merry troupe. It was such an amazing thing to finally be able to share this other world with someone from my everyday life, to be able to allow them into this other life that I escape to when my provincial one becomes too suffocating; to watch them fit like a glove to my world and the people in it makes me so happy I could cry. Call me over-dramatic, and maybe I am (I did want to be an actress...and part of my soul still yearns for that life) but I don't think anyone could possibly understand unless they were that exceptional person I allowed in, or they spent a week in my shoes; and I thank those who don't try to understand.

I was able to show her what makes this city amazing to me, my tips and tricks for seeing up to 4 shows in a weekend, the little holes in the walls with their wonderful gems, and the organized chaos that comes with rolling the dice and taking chances. We couldn't see the show we picked for our evening matinee, so we kept searching until we found one. You'd think that she'd been doing this all her life, by the second hour she was a pro; I wondered why I hadn't asked her to come with me before. Naturally the gang was warm and welcoming, I was so happy that she got to see why I adore them so much and why I need them in my life. I was finally able to give someone the looking glass and have them see into my own little world, and have someone know why I sometimes run to it so often. It was truly a beautiful weekend.

Now on to the shows:
I should just go ahead and face the music now: I saw Anything Goes this weekend with Stephanie J. Block and will be seeing it again next month with Sutton Foster thanks to my amazing sister. So I am sorry for lying to you Lindsey. Please don't tear up the tickets.

Besides Anything Goes, I also saw Follies and Memphis (for a second time) and was able to share another institution with her: the theatre. I was very surprised when we arrived at the Marquis to see that they still had student rush for Follies because it did have the legendary Bernadette Peters and Elaine Paige, not to mention the superb Jan Maxwell (who had just been HIT BY A CAR while crossing the street like TWO FREAKING WEEKS AGO), and Danny Burnstien. I had heard the music before and owned the soundtrack (the kicker was Marin Mazzie singing "Loosing My Mind" at Stephen Sondheim's birthday concert, hang on to your hats kids, this dame is amazing) and really didn't care for it that much, but after seeing the show I realized that it made much more sense.

Memphis was the reason (and a damn good one) we didn't get rush tickets to Bonnie and Clyde, see there's this little modern day legend called Adam Pascal whose currently starring in it as the role of Huey. I thought he did a fantastic job, and naturally sounded amazing with Montego. It's always good to see a show at least twice with two different casts or minor cast changes to the leads because 1.) it's almost like seeing a different show and 2.) if you're the kind that likes to see different interpretations that's the way to go. I mean there was a guy that literally saw every performance of Rent on Broadway...that's going a little too far in my book but whatever floats your boat pal...

Anything Goes was just...I mean that's what all my feelings are about right now. Sutton Foster is currently out because she's filming a TV pilot, but that's not the real star of the story: the real star is the magnificent, amazing and just damn good Stephanie J. Block. If you know anything about me, or if you're one of my many dedicated readers...you know how I feel about Steph, and when the opportunity came to see her in a Cole Porter musical I would be a terrible fan to pass it up (besides, seeing it with Sutton in December will be like a whole new show). Stephanie is a very natural and instinctive actress, she just knows what to do without being over-dramatic or looking like she's trying; she's that way with her singing too (mad, MAD props to her vocal coach) she just has this voice that flows and you're swept away on a sea of melody, vibrato, harmonies and belts. Her dancing...I mean...wow. I was simply speechless during that AMAZING, FANTASTIC, MIND-BLOWING tap number at the end of Act I. To make this even more spectacular is the fact that Steph only had TWO FREAKING WEEKS to learn that entire show. Its no wonder she's going straight home after most shows, I can't imagine how tired she must be. She performed Reno Sweeney the way Barbara Stanwyck would, I swear she even had the Stanwyck saunter down pat. Last time I saw her was at Vera Stark and we established that classic film is amazing, so that's why I went off on a Stany tangent, no apologies.

I would go on more about the show but I think I've procrastinated enough and I should probably get on the ball here. Thank you dear reader for putting up with this word vomit, and for just reading.

If I could sum up this weekend in just one phrase, I would use the phrase that Lord Evelyn Oakleigh used when talking to Moonface Martin: "You give me hot pants."

But in all seriousness, I think another one of my little dreams came true this weekend, and I am eternally grateful for it.

Picking up where I left off

I've grown up quite a bit in the past year, and in that growing up I totally forgot that I had this blog. So, here we go:

I suppose the reason I'm writing this is to remind myself what I'm grateful for, I, like so many of us, tend to forget what there is to be grateful for in life; for whatever your reason may be, I think the important thing is to recognize that you can occasionally loose track, and that's okay as long as you find yourself picking up where you left off. Life can be trying; it can be a real bitch to even the most positive of people. We've all had those really low periods in our lives where it seems futile just to get off the couch, and after seeing Bridesmaids, its times like that where I really wish I had a friend like Megan (minus the nine dogs).

I promise I have a point here, just bear with me.

There is a scene in the movie where Megan goes to visit Annie, who has had a pretty bad time to say the least (to those who have seen it please don't spoil it for those who haven't). Annie is ambivalent, she doesn't want anything to do with anyone or the outside world; she's hit rock bottom. Megan proceeds to slap the hell out of her, taking on the persona of "Life," and proceeds to bite her in the ass whilst continuing to slap the hell out of her. "Life" is kicking (and biting) Annie's ass, and she's just letting it happen. Megan is telling her "I'm trying to get you to fight for your shitty life!" Finally, Annie gets so tired of getting slapped around by "Life" (honestly the bite on the ass would've done it for me) that she slaps back almost surprised that she had it in her (or afraid that Megan is going to kick her ass, but I digress).

It is then that possibly the most poignant and impacting piece of advice in the movie: "You are your problem Annie, and you're also you're solution."

How can you be your own solution?

By realizing that you have an amazing family, a family that makes you laugh more than they get on your nerves; that your sister knows you more than anyone ever will, or that your father is the greatest human being in the world. That you have possibly the greatest friends in the universe, and they're more like family because either you've known them all your life or they just "get" you. How about all of the teachers that have impacted you, do they realize that they are the sole reason why you chose to teach yourself? Realizing that you are still being taught, there is still so much to learn, and despite your age...your are not wise.

I'm a human being. I swear, I tend to be belligerent and loud, I have so much baggage that any bellboy in his right mind would turn and run the other way, I'm terrible with money, I hate paying for things that don't bring me pleasure (i.e. car payments, insurance, gynecologists visits, etc) I would rather use the money for a trip, I tend to drink too much at parties and become even more belligerent and loud, and I have a really hard time trusting and opening up to people.

But I'm a human being, I feel love, happiness, joy, anger, jealousy, sadness, etc. I am a work in progress, and will be until I die. But that's okay, because I have so much I'm thankful for.

#30: The Best of times is Now, I promise.

If you recall, I mentioned that I was going to New York again. It was the typical cram-as-many-shows-as-humanly-possible in three days trip. I started off in Pittsburgh and stayed with my friend Kate, waiting for my friends Rach and Lyds to show up so we could journey to New York together. I know you're just dying to hear what I saw and what I thought, so without further adieu, my reviews:

I did see A Little Night music...again, since I've already written a review on it I'll make this brief: I did not care for Bernadette Peters as Desiree Armfeldt *ducks flying objects* Now before you chomp my head off, please let me defend myself. I had seen the production before it came to Broadway and it became one of my favorite Sondheim musicals, granted it wasn't as grand as it was on The Great White Way but it was still an excellent production; plus my best friend kicked ass as Desiree. When I saw Catherine Zeta-Jones she was absolutely exquisite; charming, seductive and vulnerable: everything that Desiree should be. Bernadette did an okay job, but there were several points in the show where I felt that I was just watching Bernadette Peters play...herself. Which is a huge no-no when you're acting, you're supposed to embody the character from the time the curtain comes up, to the time the curtain comes down.

Now that I've discussed that...lets move on to the other two shows I saw:

Following Night Music, I saw the revival of Promises,Promises. I have to admit, the only reason I was interested in seeing it at all was the simple fact that I had never seen Kristin Chenoweth live on stage. I was surprised by how much I liked it, granted there were some songs I was like "Okay..this seriously doesn't need to be in here." But for the most part it was a much deeper show than what I thought.
Sean Hayes really surprised me, I had a feeling he was going to be good but I was not prepared for the brilliant stage presence that he had, nor the amazing voice. He was positively brilliant, able to be absolutely hysterical and incredibly serious with ease.
Kristin was everything I expected her to be and more. She's a powerhouse in a tiny package, she is able to sing as delicate as a lullaby then, without warning, she's belting out those notes like it's nothing. She seemed to really enjoy being back in her element, in case you'd forgotten she got her start on Broadway; she's well known for playing Glinda in Wicked, but she's played several other amazing roles.
Katie Finneran was positively amazing. She was only in a few scenes in the second act but she literally stole the stage the minute the lights went up. I can see why the Tony committee thought her worthy of the Best Featured Actress Award because you literally were swept away in a sea of laughter the second she opened her mouth.

While the rest of my merry troupe went to see Memphis, some for the second and third time, I went to see La Cage Aux Folles. It has become one of my favorite shows of all time. Douglas Hodge was absolutely amazing as Albin, I don't think I have seen a performance that amazing in a long time. Kelsey Grammer was a fine choice for my first Georges, he had a great voice and amazing stage presence. I have to briefly mention an amazing talent, Elena Shaddow. She played Anne, which isn't a large role but she had such a presence that I was absolutely captivated every time she had the stage. Just the smallest gesture of her hand or the tilt of her head was absolutely charming, plus she's absolutely adorable.

I apologize if they weren't as in-depth as you thought they would be, I tend to run on and on when I review shows so I have to cut them rather short ;]

#29: F*ck you, I'm happy being poor

I often get sneers and jeers when I tell people that I'm off to New York (again) or somewhere else like Pittsburgh or Denver. People mock me, telling me I must be made of money or I must have a sugar daddy.

Its actually quite simple really. I am flack fucking broke. All of the time. I live from paycheck to paycheck every single week; I barely scrape by on my credit card bill, car insurance and other expenses. When something goes wrong with my car I have to take it to a mechanic that offers payment plans and is understanding of the fact that I am indeed another college student who will be up to their eyeballs in debt when they graduate. I can honestly say, while occasionally I will silently swear at my empty bank account, you will never ever hear me complain about my lack of money. Nor will you ever see me pass up a trip to New York, even if its for 24 hours.

Now I know that some of you are asking "Why, why on earth would you put yourself through that stress all the time? Why can't you just save your money? I'm sure that you'd by much happier without the stress!"

Again, a simple answer: I don't want to.

Don't worry, I'm going to give you more than that. The thing is, I live in a town that fits ever single stereotype you can imagine for a small, Southern(ish) town. There are people in this area that haven't been any further than 60 miles from their front door. You say "New York" and they either think of a baseball team or a place where you get mugged all the time. My father tells me two things constantly: 1.)I was born 40 years too early and 2.) I was born in the wrong location; and I believe him. I look around at these people who haven't traveled 60 miles from their doorstep, who have never seen a Broadway show or even a real skyscraper, who have never been in an area with more than a hundred people or met someone they weren't related to or knew about; and I pity them, I think how empty their lives must be. I mean sure, they're happy and yeah that lifestyle floats their boat but its definitely not for me. I've often compared my hometown and its lifestyle to quicksand: once you get stuck, you're slowly pulled under and suffocated by monotony and a provincial lifestyle. At least, that's how I feel anyway. Please don't mistake these feelings for absolute loathing; there are things about my town that I love and will miss terribly when I do finally move.

The main issue is this: I don't want to be in my 40's and 50's and look back on my life with regret. I know that I have responsibilities and that I can't go to New York or anywhere else whenever I damn well please (though, I'm still working on marrying that rich man), however you can bet your ass I'm going if I can afford to. It just so happens that my good friend Saint Jude, the patron saint of lost and hopeless causes, smiled on me and made it possible for me to go to New York twice this month. I'm not Catholic, but Saint Jude has become my buddy. Every time I go to New York and step foot in the square in front of Penn Station (my nostrils filled with everything from car exhaust and gasoline, to honey-roasted nuts and hot dogs, and of course urine and horse shit. Its a surprisingly comforting and familiar smell.) and take in the surroundings its as if I'm doing it for the first time, every time.

I will be able to tell my children, and grandchildren about all of the wonderful and amazing things I did when I was younger. How many shows I saw in my lifetime, how the city has changed since I was a kid, the places I went, things I did, and the wonderful people I met along the way. Sure, I'm broke now and it goes without say that I sacrifice a lot so that I can live this lifestyle that I do, but honestly I'm happy.

At least, that's how I see it.

#28: Broadway vs. Hollywood: A battle of EPIC proportions

Broadway and Hollywood. Two separate entities that have been at "war" for years. They first met in 1927 when Warner Bros. made the first "talkie" film The Jazz Singer, about a month before that Florenz Ziegfeld opened Show Boat, Jerome Kern and Oscar Hammerstien II's adaptation of the book. Two artistic phenomenons within two months of each other. It seemed as though from that moment on, Broadway and Hollywood would be in each others lives and at each others throats.

And this "war" has continued even today, much like political parties, you ask anyone what they prefer and they're very adamant about where they stand. Broadway or Hollywood. They prefer to sit in a theatre with a huge screen with the jumbo sized popcorn and soda, ignoring the sticky floors and the person who forgot to turn off their phone, to be swept away by the magic of movies. Or they prefer the velvet seats, the feel of Playbill pages between their fingers as they read about the actors, and the surge of excitement when they come out on stage for the first time; so close that you could almost reach out and shake their hand. Well, if you're in the orchestra section that is, but you know what I mean. Both bring enormous amounts of satisfaction to people, they provide an escape from their everyday lives and problems, and they give people a feeling that they aren't alone. They do have two major things in common though: They're both in a theatre and frickin' expensive.

Advocates of the theatre argue that without Broadway, Hollywood would have never been born. The stage is the oldest art form next to painting, people have been putting on live shows for thousands of years and from them actors and producers today have learned some valuable tricks of the trade to keep the theatre entertaining and alluring. However you can't argue with the fact that Hollywood gave society something that Broadway couldn't: easier access. There are millions of movie theatres all over the country, all one has to do is walk down the block and turn the corner. Broadway is a little harder to get to, especially if you don't live in New York; sure there are tours but even then you're met with getting to a theatre. Which isn't easy if you don't live in a city like myself. As much as I would love to go to Broadway every weekend, I just can't; it is not possible for me to do unless I marry a rich man. Which is something I'm working on. But until I find my rich husband I have to take what I can get, even if I'm sitting through the movie that had been a Broadway musical until someone sold the rights to Hollywood, and I'm silently judging and critiquing every actor in the movie...I'm there and I'm being entertained and swept away for a few hours.

Believe it or not there is a reason for this, as some of you theatre buffs may know Hunter Foster recently made headlines in the theatre world with his Facebook Group, which you can check out here, "Give the Tony's Back to Broadway!" At first I was like "HELL YES! GO HUNTER!" But I can be impulsive and not think things through, so now that I have...allow me to tell you how I see it:
There was a statement made in the article that really rang true to me, and it was a very well-written and educated response:

“Look, talent is talent, so whether Hollywood stars or Broadway unknowns are on the NYC stages, fine. But the Tony awards ceremony should honor Broadway and stay loyal to those that brought the spotlighted shows to life… not the names that are just that: names.”

I think that is my main issue with Hollywood actors coming to Broadway. Honestly it really has nothing to do with them, it has everything to do with the producers and everyone who handles marketing, ticket sales, etc. They know that people who aren't necessarily into live theatre will come if they hear that someone like Denzel Washington is going to be in it. I've been known for scoffing at Hollywood actors, thinking them impudent and brazen for thinking that they could compare themselves to a Broadway actor, someone whose craft far surpasses theirs because they have spent their life performing in front of a live audience; where there is no "cut" or editing a scene. However if you do a simple google or wikipedia search, you'll find that some Hollywood actors got their start in live theatre. I find those actors to be the ones I respect the most, and I do recognize that even the ones that didn't get their start in theatre aren't any less talented; they're just doing what they love to do in the environment they're comfortable in.
If you read my previous column, you know that I recently went to see two shows this past weekend: A Little Night Music and Everyday Rapture. Both had two amazing leading ladies: Hollywood icon Catherine Zeta-Jones and Broadway favorite Sherie Rene Scott. Both of their performances were out of this world, CZJ performed while she was sick and never missed a note or a line; Sherie's amazing voice and acting ability continues to amaze me every time I see her on stage. The only difference between the two is CZJ is best known for her movies (though if you do that google search, you'll find that 20 years prior to this stage debut, she was in a West End Production of 42nd Street AND she did all of her own singing and dancing in Chicago) and Sherie for her stage. Neither performance was better than the other, they both gave the audience their all and then some.

I understand where Hunter is coming from, and I don't think that he's saying that Hollywood actors are any less than Broadway actors. I also don't think that most Hollywood actors think they're better than Broadway actors. However I think that the Tony awards ceremony should honor Broadway, and the past few years that I've watched it I have seen that philosophy slipping more and more into the shadows. It has nothing to do with the actors themselves, whether they're Broadway or Hollywood, but with those damn money whoring producers and people like them. They figure if they have a few "famous" people, ratings will skyrocket and people will flock to the theatre. What's funny is the fact that those money whore's are forgetting this: Broadway has been around for a century or so, and sure shows have come and gone, theatres have been destroyed and rebuilt but it's still there. The heart and soul of Broadway is not something that's easily destroyed, it's survived this long without the help of ratings and big names and I think it has quite a few more years to go.

I recognize real talent, as I'm sure you dear reader do as well, so lets not be too quick to judge those who step off of Sunset Boulevard and on to the Great White Way. However I don't see Broadway actors as presenters on the Academy Awards, so I think that those organizations really need to think about who they're honoring.

At least, that's how I see it.

#27: A Little Rapture

I am going to warn you ahead of time, this post is going to mostly be gushing about my recent trip to see A Little Night Music and Everyday Rapture. So if that's not your cup of tea just skip the first couple of paragraphs.

Lets start with Night Music.

It was the first show that introduced me to the amazing composer/lyricist/all around genius Steven Sondheim, so I went into the show with a more than overflowing sense of excitement. From the moment the Overture's melodies filled the air, I knew that there was no place that could make me happier in that moment. The cast was almost perfect, I say almost because I did not care for Hunter Ryan Herdlicka's portrayal of Henrik. I won't go into every little detail, but what turned me off was when he sang "Later," he literally screamed at one point and I expected Sondheim himself to pop up and smack him. Other than that, I found everyone else to be a perfect fit for the characters. Let me mention just a few:
Leigh Ann Larkin was absolutely charming as Petra, the very "free-spirited" maid. Leigh Ann recently starred in the 2008 revival of Gypsy as Dainty June, so she's no stranger to Sondheim; I absolutely adored her version of "The Miller's Son" and it has become my new favorite song in the production.
I have to mention Betsy Morgan because when I went to see The Little Mermaid, she was playing Ariel and therefor it is my obligation to gush a little about her. She has a gorgeous voice, its one of those unique voices that makes you cock your head and go "Huh, that's different! I like it!" Her role was unique, she was part of the Greek chorus, I know it sounds weird that a Greek chorus would show up in a modern day Broadway musical but it really did work. I found it particularly fitting in "Remember," the scene in which the characters of Desiree and Frederik reminisced about their past together. In the original production everyone around them froze as they sang, this was unique and original, and as I said before it really did work.
How can one talk about this production, and not talk about Catherine Zeta-Jones and Angela Lansbury? Though she did perform, it was very apparent within the first few minutes that she was on stage that CZJ was not feeling too well. Her voice was a little stuffy, but that did not hinder her performance in the least; she was very careful in the first act and most of the second, one could tell that she was saving her voice for her solo, one of Sondheim's most popular and beautiful songs: Send in the Clowns. She did splendidly! Much better than her Tony Performance; don't get me wrong, she sounded amazing that night, but her neck jerking reminded me of a pigeon. Cut her some slack though, it was the Tony Awards, and I think even someone of her caliber is allowed to be terribly nervous. When she started to sing, I felt my eyes water, by the time she was finished I was a puddle. There is something about that song that touches a small part of you.
Speaking of something that touches a small part of you, let me gush about Angela. From the second she came out on stage I was all a flutter with excitement, then when it came time for her to sing her solo I was a puddle. I never thought in a million years that I would be able to say that I was blessed enough to see a living legend on a Broadway stage TWICE in my life. Oh and just so you know, age hasn't affected her in the least. She still has it, and her rendition of "Liasons" was absolute perfection.

I'm going to borrow the description from the facebook page: Everyday Rapture is the story of a young womans psycho-sexual-spiritual journey on the rocky path that separates her mostly Mennonite past from her mostly Manhattan future. Her life takes her from the cornfields of Kansas to the clover fields of New York (with a disturbing detour through YouTube). With a cast of five led by Sherie Rene Scott, the show also features songs made famous by David Byrne, Roberta Flack, Mister Rogers, The Dap Kings and Judy Garland. Sherie Rene Scott is probably one of the funniest people, with a killer voice, that you've never heard about, she co-wrote the show along with Dick Scanlan. It's sort of a semi-biographical, one-woman-and-two-backup-singers show; Lindsay Mendez and Betsy Wolfe are the two back-up singers, and they were phenomenal; I hope that they do concerts or something because I would love to hear them individually. The show is mostly a satirical look into the world of this young woman, but there were some moments that really got your wheels turning or had you reaching for the kleenexes. She described moments from the death of her gay cousin Jerome, and Fred Phelps in all of his hateful glory showed up to protest his funeral; to the time her son first found a four leaf clover, the cat eating it (to which she described: "I had my hands around his neck, prying his mouth open. I wanted to kill this fucking cat! I told my son that mommy was petting the cat in a way that you should never pet the cat!"), and her wondering if they really were specks of dust and if the world wasn't meant for them. I have to say that it has become my new favorite show, and I wish that it would extend its limited engagement so I could see it again.

I apologize for the long tirade, but there aren't enough words to describe the utter joy and freedom that the theatre gives me.