Carnegie Hall, I can't believe I got to meet you. Thanks for making me feel like Ben Brantley. āØ
Monterey Bay Aquarium

oozey mess
d e v o n
will byers stan first human second
wallacepolsom
Sade Olutola

Discoholic šŖ©
NASA
Three Goblin Art

titsay
Lint Roller? I Barely Know Her
PUT YOUR BEARD IN MY MOUTH
I'd rather be in outer space šø
KIROKAZE
let's talk about Bridgerton tea, my ask is open
Aqua Utopiaļ½ęµ·ć®åŗć§čØę¶ćē“”ć
Jules of Nature


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@curtainchronicles
Carnegie Hall, I can't believe I got to meet you. Thanks for making me feel like Ben Brantley. āØ

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Chekhov on Super Bowl Sunday šš #PinkiesOut
Guy meets girl. They make some music. And they either end up together or apart, delighting or devastating their respective audiences. It's just as typical a story as the romance of the Broadway musical (and usually has a similar effect). Well, Glen Hansard and Marketa Irglova's Once is hailed for dashing the typical boy meets girl tale, and its North American tour installment does not seem to do typical either. Magic was made at New Haven's Shubert Theatre last night as the cast of Once took their first bow of the weekend (and received the first of what are likely to become many standing ovations).
John Gallagher Jr. is all tousled brown hair and instrument cases as he tumbles out of a cab on Allen Street. Dishevel has always gone hand in hand with delight for Gallagher, who nabbed a Tony Award in 2007 for his frenetic portrayal of Moritz in Duncan Sheikās Broadway smash Spring Awakening. Gallagher would go on to rock the St. James fronting Green Dayās Great White Way take on American Idiot. Google him, and āJohn Gallagher, Jr.ā sweeps the screen.
On repeat

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This is music that wants to do everything, and succeeds.
YUP. A wonderful read from The Atlantic.
#tbt to lined jackets and John Gallagher Jr. and I looking like a coupla middle school sweethearts
I have literally never related to this man more.
VIDEO: HAMILTONās Lin-Manuel Miranda Plays āWheel of Freestyleā, Talks Broadway Hit & More on⦠http://ift.tt/1PgU41d
My heroĀ
The Trojan Women Has Audiences Wincing for All the Right Reasons
Itās not uncommon to wince a lot whilst watching an off off off Broadway production on a rainy weeknight in downtown Manhattan. However, Oppressed in Heels and director and writer Nathaniel P. Claridadās production of The Trojan Women has audiences doing so for all the right reasons.
Behind the scenes, the groups of people behind this evocative version of Euripidesā classical text are taking on social issues. Founded by Lynnsey Ooten (who has acting and directing chops to boot), Oppressed in Heels is a three part series showcasing theatrical works of the past (the first installment was an all-chick Shakespeare) and pairing them firmly with the very real battles faced in the present by women (and everybody). With the help of another organization called A Letter for You, which collects anonymous letters of encouragement for survivors of abuse in all of its forms, this version of The Trojan Women incorporates interviews with real women. From sexual abuse, to the loss of a child, to police brutality, no heavy topic is left unexplored onstage at the Access Theater.
A Greek chorus (commanded by Malloree Hill, Jay Reed, and Tania Chelnov) invites the audience into the piece with fast-paced laughs and an even speedier summary of the events leading up to the war that straddles the line between history and mythology. Dressed in shades of aqua, these ladies are who you wish you had had to guide you through the seven-syllable names in high school; while some of the story points are inevitably lost in the rush, the bit (and itās just that) is a requisite to -- shall I say -- cleanse the palate for whatās to come in the following 70 minutes or so. Ā Ā Ā
As the players weave between ancient Greece and modern day, their monologues break hearts and transport the audience to the darkest corners of the mind; this is the kind of theatre that begs attendees to look, not at the performance but at the white hot lights on the inside. That uncomfortable debate or harrowing memory -- itās closing in. All four of the walls in the space are used to convey this idea, and itās an excellent creative choice, especially in such close quarters. Eulone Gooding, Nicole Kang, Ooten, Cherrye Davis, Brandon Garegnani -- none are afraid to look the audience in the eye as their characters recount their rape or play devilās advocate for Black Lives Matter. All this on top of stepping in and out of their counterparts in Euripidesā play.
To be sure, there are moments where Euripidesā classic gets a little lost, and running out seems like a good idea. Catharsis is the supposed to be the glorious reward in witnessing tragedy, but at what cost? Blood-curdling screams are used generously and are not entirely necessary; moments of silence as Kangās or Goodingās eyes remember are far more effective. And no one knows what horrors those sitting in the seats have faced or are facing.Ā
However, this is precisely why such opportunities for dialogue are necessary. The Trojan Women is exactly that -- an opportunity for dialogue. The best theatrical productions are (or should be). And it is one that is not to be missed.
The Trojan Women runs until Nov. 1. Oppressed in Heelsā next project will be a staged reading of Joan by Nilan Johnson and Garegnani in February 2016. Ā Ā Ā

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MTCās Evita Entertains Peasants in Snug Norwalk Space
Ā āStatesmanship is more than entertaining peasants,ā a soldier snarls upon the election of Juan Perón in Andrew Lloyd Webber and Tim Riceās quintessential historical snapshot, Evita. The mixing of politics and celebrity does not cease to capture the attention of onlookers ā even half a century later. (Just take a look at the carrot-topped imbecile currently dominating media coverage surrounding the 2016 election.)
What a time for Music Theatre of Connecticut to revive this musical, bringing the ācircusā that is how we the people view seemingly larger-than-life characters into its snug Norwalk space. Whether one worships or loathes the tale of Eva Perónās Icarus-like rise to the height of Argentine political power and beyond in the 1940s, one cannot deny how transfixing it is.
As with Donald Trumpās candidacy today in 2015, we flock to our smart phones, thumbing through his outlandish Twitter feed, making quips about how preposterous the idea of him leading the free world seems ā at the same time, relishing the spectacle and resultantly, prolonging it.
Unlike the Donald, the character Eva has a likeability to her, at least in the enchanting way songbird Katerina Papacostas portrays her; MTC front man Kevin Connors tasks the audience with judging the title heroine saint or sinner in his directorās note. Her voice fills the intimate space, which the effervescent ensemble uses very well. High kicks in a 110-seater? Yes, please. Ā Ā Ā Ā Ā Ā
Dance captain Rachel Macisaac brings enthusiasm fit for a Great White Way production. All of the voices blend nicely together; however, the ladies win this round as far as clarity is concerned. Carissa Massaroās bits in āAnother Suitcase in Another Hallā are particularly nice storytelling moments.
Luckily, a Tony-winning Webber story about an icon once played by Madonna hardly needs a rehashing of the events that transpire: peasant girl rises to high society. The way in which she gets there is morally questionable, as is the way she takes her place at the throne once there. The instant queen, a cross between a fantasy in the bedroom and a saint.
Not as fortunately, many of the lines and lyrics are lost in this production. To the castās credit, the band behind them is giving it their all ā Thomas Martin Conroy and Mike LāAltrella on the keys, Jim Andrews on bass, and yes, Iām looking at you on the drums, Chris Johnson. Striking down the band is not an option; however, neither is forgoing to hone in on oneās diction as a performer. (Iām picking on Daniel C. Levine here because the manās got some serious Broadway credits under his belt.) Ā Ā Ā Ā Ā
All in all, both first timers and those experiencing Evita all over again will witness some pretty pictures. A load of that credit should be bestowed upon costume designer Diane Vanderkroef. Evitaās wardrobe is exquisite; the entrance where she wears the āDonāt Cry For Me Argentinaā gown received well-deserved gasps on opening night. And what fun for an ensemble to not be tied down to one signature garment (sometimes not even within the same musical number).
Like the divine Eva Perón, Music Theatre of Connecticutās retelling of Evita is a delicious feast for the eyes, especially in such close quarters. Nevertheless, like the state of Americaās impending political landscape come 2016, simply clearing up extraneous noise can take any public display leaps and bounds. Ā Ā Ā
Milestones and New Beginnings with Angela Reed of Westport Country Playhouseās Broken Glass
With Broadway credits, national tours (Spring Awakening and War Horse, no less), and the firecracker role of Barbara in August: Osage County under her belt, Angela Reed has done it all. However, the Westport Country Playhouse first timer is currently learning a lot in rehearsals for Arthur Millerās intense Broken Glass.
You play Margaret, the wife of Dr. Hymen. Tell me about your character.
Unlike everyone else in the play, who are New Yorkers and Jewish, Margaret is from Minnesota and not Jewish. This does have significance because the play deals a lot with identity and relationships and how religion and society shapes you.
What have you learned about yourself from playing her?
That I enjoy being an observer more than I thought I would. And Margaret is very astute. She has very little information, but she is intuitive about her husband and the people around her. She talks about being a talker, but for somebody who is so talkative, sheās also a great observer. I myself have enjoyed observing and not having to be in the thick of it in a way that maybe I would not have appreciated as much years ago. Iām OK with contributing what I can to tell the story. Mark [Lamos] has been great. Iāve never worked with him before. Itās a really good group.
This particular work of Millerās touches on some dark historical events. What kind of research did you and the cast conduct for the production?
We have a fantastic dramaturge Marlee Koenigsberg. Thatās been really great because she has given us so much source material to constantly be going back and looking through.
This is your first time acting in an Arthur Miller play. Whatās your favorite thing about performing his work?
Whatās so interesting about his work is how he writes nuances for relationships. There are married couples. There are sisters in this play. There are doctor-patient relationships. The conversations that we often do always have are a lot of two-person scenes. Thereās so many nuances going on and layers and things not being said, but they're intuitive from what heās writing. Heās brilliant in that way. He was 79 when he wrote this play. He was creating work well into his seventies, and thatās remarkable to me.
What is your least favorite thing about performing the work of Arthur Miller?
The woman who plays Sylvia [Felicity Jones] and her husband Phillip [Steven Skybell] really go on a difficult journey. They are really carrying the weight of it. Itās about secrets or truths that you did not reveal entirely, that you didnāt reveal to someone youāve been married to for 25 years. There are a lot of dark and scary places that the characters have to go and therefore the actors have to go. The three of them are exhausted by the end of the day. I have the great fortune of watching their process and journey, and I feel really lucky that Iāve been able to witness it. I want to feel like Iām in the same world. I like being there when theyāre rehearsing their scenes that Iām not in, and figuring out ways I can make myself part of that world.
You have quite the theatrical resume. Is there a favorite past role youāve played?
I would say itās probably Barbara in August: Osage County. Sheās a force. Parts like that come along, and I loved doing it. Sam Gold directed it, and heās a fantastic director. It did feel at the time that it was a once-in-a-lifetime kind of role.
Do you have a favorite current or upcoming role or project?
I did one upcoming Girls episode, and it was a lot of fun to shoot.
Do you have a dream role?
There are so many hot classic roles that I think people are dying to play. Iām not dying to play Hedda Gabler. Those really brilliant parts have been done over and over and over. Iām more interested in finding those kind of undiscovered parts and things that havenāt been written yet. I think Barbara was a part that just fulfilled so many things in me. I donāt think I want the pressure of coming up with a brilliant Blanche or a brilliant Hedda. Itās been done brilliantly. Many times.
Youāve got a dog?
Yes! Butley. Heās been on two national tours. Heās driven over 50,000 miles.
Photo Credit:Ā Seth Fisher
Got my ticket printed and prepped for Doing It My Way at The Duplex tonight, @almoe1992 ! You kids ready? #myway
Doing It My Way: Alex Mollica Suits Up for His First Act at The Duplex
An hour feels like no time at all, and on September 26, those filling the seats at The Duplex on Christopher Street will yearn to stop the speediness of 60 minutes when Alex Mollica takes the stage. Mollica himself will be savoring every moment of his second stint on the cabaret circuit.
Several months ago, the 23-year-old tenor approached the mic at Donāt Tell Mama in the heart of Times Square; despite the instruction of the venueās title, his wildcard singing range and one-liners got people talking, laughing, and shedding a tear or two. A YouTube video and a whim resulted in Doing It My Way, Mollicaās upcoming autobiographical cabaret.
Though Mollica has been rehearsing fastidiously with musical director Christine Riley, his show is sure to have endearing candidness, a dash of self-deprecating humor, and a whole lot of heart. Ā
How did you happen upon the cabaret circuit?
I was looking on Backstage, and [discovered that] Seth Bisen-Hersh does a talent showcase every week at Donāt Tell Mama. I auditioned for him, and I got to do that cabaret. There was a video made of it. I took that video, and I sent it to the booking agent at The Duplex on a whim, saying āIf thereās an opportunity to perform, please let me know.ā And he got back to me within the week and said that they would offer me a show of my own. Iām very grateful for that, especially to Seth because he gave me the first opportunity.
Oh God, youāre not singing āCabaret,ā are you?
No. (Laughs) I will not be singing Lizaās classic.
As you know by now, an hour is a long time to fill. How have you gone about selecting your material?
Iāve been singing my whole life, so Iāve been exposed to many different types of music; my inner catalog is very vast. Thereās gonna be some jazz standards; John Mayerās gonna be in there. Thereās some Disney - some obscure and some well-known. And of course, no cabaret is complete without a Sondheim or two. It definitely runs the the gamut.
So - Doing It My Way. Why is that the title?
When I went to school for musical theatre - itās a lot of trying to figure out your type or what box you fit in. What songs you should sing because of how you look. I kind of lost the joy of performing in my pursuit of trying to find a box to fit into. So I named it that because I am doing it my way. Iām not waiting for a chance to perform. Iām not waiting for an opportunity to work on myself. Iām just going to do the work for my own enjoyment. I perform because it makes me happy. I always feel, after performing, that Iāve accomplished something, and that in some weird way, Iāve gotten closer to the person Iāve always dreamed of becoming.
If you could take a master class from anyone alive or dead, who would it be?
I mean if I ever had the balls to sing a song in front of him, itād definitely have to be Stephen Sondheim. His songs are like a Shakespeare monologue. They are very rich and complex and deep. And thereās no such thing as nailing it. Thereās always a new shade that you can find. Thereās always something you can bring to it. And it changes every time you sing it because of the way that itās written.
Whatās great about his songs - yes, they can be taken out of context - but the lyric rarely ever repeats. It is like a monologue, so the best thing to do is to learn it separate from the music and let the lyrics speak for themselves because theyāre strong enough to do so. Heās just brilliant. To be in the same room as him would be a gift.
If I could mass produce t-shirts for this event, what should be on them?
(Laughs)
I promise this isnāt a leading question. Iām not going to do that.
Ā (Laughs) Alright. Hashtag my way?
If you could play any role EVER, what would it be?
Ideally, I would love to be in a room and create an original role from the ground up, whether it be in a musical or a play. If it had to be written already, thereās two of them: Charley from Merrily We Roll Along. Sondheim again. That score is just brilliant. They start at the end of their friendship where everything has fallen apart, and you see their journey in a backwards progression. I think thatād be a great challenge as an actor.
And then - I donāt care if youāre a man or a woman - but Anita in West Side Story. I just think itās the best musical theatre role ever written. I mean, thatāll never happen. (Laughs)
Ok. So weāre gonna play a little game.
Oh my God.
Itās called āScrew, Marry, Kill.ā Iām gonna give you three names, and youāre gonna have to tell me who you would screw, marry, or kill.
Oh my God. Ok.
Audra McDonald. Kelli OāHara. Jessie Mueller. GO!
Oh no! (Laughs) I would definitely have a hot affair with Audra. Oh god...Is there any way, I could kill one of them and like, bring them back?
Fine.
I think I would marry Jessie just because Iām obsessed with her in the most safest, non-restraining order way possible. I guess I would have to kill Kelli.
I mean, she got her Tony, so sheās good for now, right?
No. Actually, I just refuse to answer that question. They all are too perfect.
Alright. Tori Kelly. Sara Bareilles. Megan Hilty. GO!
Oh my God - screw Megan Hilty. And then, marry Sara. Kill Tori. Sorry, Tori.
Meryl Streep. Patti LuPone. The exceedingly wealthy Red Robin spokeswoman. Go.
(Laughs) Marry Meryl Streep. I guess I would have to screw the Red Robin lady. And then I would have to kill Patti, I guess. She would probably kill me before I got the chance. Although I love her.
Susan Blackwell. Alysha Umphress. Beyonce. Go.
I would definitely have to have sex with Beyonce. I couldnāt marry her ācause thatād just be a lot to handle on a daily basis. I guess, I would kill Susan Blackwell. I would marry Alysha.
Whatās your favorite breakfast sandwich?
Oh my God. The fried egg sandwich from - I think itās called āwichcraft? The one I go to is in the Lincoln Center Atrium. Itās like a fried egg with bacon, lettuce, this like balsamic vinaigrette thing with blue cheese on like a brioche roll. Itāll make you need a napkin - and not just for your mouth.
What Italian dish do you identify with the most?
I mean, chicken parm. Itās just a classic. You canāt go wrong with it. (Laughs)
What will your show tell those who know you well?
I donāt really talk about my love life or the lack of a love life to my friends or family that much. I think people who know me really well wonāt know that side of me.
What will your show tell those who are meeting you for the first time?
Everything. I think you get a really good sense of who I am as a person and my philosophy towards life. We are literally here for a very limited amount of time. Iād much rather die failing at something that I love than live my life succeeding at something that I hate.
What do you want people to leave your show with?
I want them to pursue what they want to pursue, whatever that may be. Whether it be becoming a best-selling author or being the best parent they can be. I hope them watching me pursue my dream of being a storyteller will inspire them to follow whatever their passion is.
Missed Mollicaās Donāt Tell Mama debut? Watch the full vid below, and book tickets for The Duplex here.
Photo credit: Jeremy Folmer
L-R: Ā Scott Drummond, Carson Elrod, Sarah Manton, and Claire Karpen in āBedroom Farce,ā written by Alan Ayckbourn, directed by John Tillinger, at Westport Country Playhouse, now playing through September 13. Ā (203) 227-4177. Ā www.westportplayhouse.org Ā Ā Ā Photo by Carol Rosegg
Cozy Up with Bedroom FarceĀ at Westport Country Playhouse

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Dream team motivating me on this here hump day <3
The cast of āBedroom Farceā at Westport Country Playhouse August 25 ā September 13: Ā L-R ā Matthew Greer, Nicole Lowrance, Scott Drummond, Claire Karpen, Cecilia Hart, Paxton Whitehead, Carson Elrod, and Sarah Manton. Ā Photo by Peter Chenot
Back at It: Bedroom Farceās Sarah Manton Tackles Ayckbournās Comedic Edge for Another Westport Summer
Sarah Manton is a delight. I figured this out last summer when she lit up the Westport Country Playhouse stage alongside Geneva Carr, Matthew Greer, and Michael Mastro in the uproarious production of Things We Do For Love by (Sir) Alan Ayckbourn. I also figured this out when she was kind enough to chat to me at 8 p.m. on a Tuesday evening following a rehearsal at the Playhouse and a commute back to New York City.Ā
It is fitting that juggling is not a problem for an Ayckbourn play vet; his works (of which there are over 70 - he nabbed the Lifetime Achievement Award at the Tonys in 2010) are glorious hybrids between pure shenanigans and unapologetic truth. According to Manton,Ā Bedroom FarceĀ will be no exception.Ā
This is not your first time in an Ayckbourn play. What is your favorite thing about performing his writing?
I actually worked with him in England. My sister is working with him right now on his new play in England. Itās called Heroās Welcome. We go back quite a long way. The thing that I love is that his plays are very funny, but thereās also - you have to play the truth. You have to have a slightly heightened awareness that itās a comedy. John will say āJust pause a bit there to get the laugh.ā But you have to play the truth of the situation. Just as with last yearās production, this is about middle class couples with marital issues. Itās electrifying playing that very seriously, and people arenāt really sure just how much to laugh. I really love that edge. The audience has to wonder: āAm I supposed to be uncomfortable, or is this really funny?ā
Do you have a favorite play of his?
From the ones Iāve done, I really did like Time of My Life. One couple goes forward in time, and one goes back in time. Actually, some of his new ones have been quite interesting. My Wonderful Day is another favorite of mine. Itās dark in places but also funny.Ā
How does Bedroom Farce compare to Things We Do For Love?
Itās the same team. Same director. Same playwright. Matthew Greer is also in this one again. It is still dark, but itās a little more energized. Thereās great, quick banter between the bedrooms. My impression right now is that it has a little more of a farcical energy. Itās going to be really interesting to see how the audience reacts. Thatās the joy of doing a comedy.
How do the theatre scenes differ in London or New York? Do you have a preference?
The experience of auditioning is very different. In London - thereās so many less people for each role, so if youāre getting called in, you stand a reasonable chance. You go in and have a chat, and you know the director or you have something in common. Thatās half the audition. Here, you go in. Thereās a lot more people. Itās a lot quicker. I kind of like it in a way - you have to just cut to the chase and be prepared. Ā
How has the Bedroom Farce rehearsal process been for you thus far?
Everybody is just wonderful, and that helps. I like working with John. He casts it well, and then he trusts his actors. That brings out the best in me, having a director that letās me find it. If Iām way off track, heāll get me back on track. But heāll also know when not to say anything.
Any advice for love triangles?
Well, in Susannahās case, they have a big blow-up, and that actually seems to be good for them. (Laughs)
Any bedtime rituals?
One thing that I find really helps is to limit my Netflix watching. My husband also just bought me a load of books. Iāve been reading Lena Dunhamās book. Thereās a book called The Girl on The Train that one of the girls in the cast lent me.Ā
Any weird dreams lately?
I love these questions! Itās hard to remember. I did have some flying dreams at some point. Which was amazing. Iāve definitely had the ones where you feel like you canāt move. Quite the opposite!
Do you remember your first sleepover ever?
I used to go to Claire Strettonās house. She lived just down the road. We were telling ghost stories or something, and she decided if she covered her feet, the ghost wouldnāt get her. And I decided that if I covered my head, the ghost wouldnāt get me. (Laughs) I even now find myself wrapping my head in the duvet sometimes.
Early bird or night owl?
Ideally, Iām an early bird. Mornings are great when I can get up for them.
What are your jammies of choice?
At the moment, itās like a very light, quilted slip that I got from a thrift store in Denver.Ā