This review of Mr. Ruby Rims & Friends in five (5) shows entitled "Teddycare" at Eighty Eight's was written and published by Dr. Thomas Robert Stevens and appeared in Volume I, Issue 3 (January, 1998) of Applause! Applause!
"Teddycare" - Mr. Ruby Rims & Friends
Eighty Eight's (228 West 10th Street, NYC)
Reviewed 12/12/97 at 8 p.m. & 11 p.m.; 12/19/97 at 8 p.m. & 11 p.m.; 12/26/97 at 8 p.m.
In 1901, Theodore Roosevelt (nicknamed "Teddy") became President of the United States. In November, 1902, he embarked on a 4-day hunting expedition in Mississippi, during which he refused to shoot a bear that had been cornered for him. The incident prompted a cartoon by Clifford K. Berryman which appeared in the Washington Post on November 16, 1902; the title of the cartoon, "Drawing the Line at Mississippi", also referred to a boundary dispute which the President had set out to resolve. The popularity of the Teddy Bear began soon after Berryman's cartoon appeared. Morris Michtom, a Russian emigre, displayed a plush bear, made by his wife Rose and labeled "Teddy's Bear", in the window of his New York store. It was an instant success. The wholesalers, Butler Brothers, eventually bought the Michtom's entire stock, and, helped by the backing of Butler Brothers, Michtom established the Ideal Novelty & Toy Company, reputed to be the 1st United States teddy-bear manufacturer. The height of the teddy craze coincided with Teddy Roosevelt's second administration (1905-1909). In 1906, the United States toy trade magazine "Playthings" first referred to "Teddy's Bears" and this was soon abbreviated to "Teddy Bear".
For the remainder of the 20th Century, Teddy Bears have continued to be ideal gifts for children of all ages. Their popularly has led hundreds of thousands of people to collect and trade them. Teddy Bear Conventions are held every year and numerous books have been written detailing the history, designs and diversity of Teddy Bears manufactured throughout the world. It is hard to say exactly why Teddy Bears have sustained their popularity throughout the years. I believe it is because a stuffed bear covered with fur acts as a surrogate mother who continues to provide its owner with warmth, safety and a feeling of security for so long as it's being held. The holder of a Teddy Bear, embraced in a "bear hug", feels less tense, less anxious and less frightened, just as the holder would feel if being hugged by mother. I wouldn't be surprised if Teddy Bear owners lived longer, happier lives than those living without Teddy Bears.
Mr. Ruby Rims was a Teddy Bear collector who appreciated the therapeutic value Teddy Bears have for children, and especially sick children. One day he decided it would be a great idea to organize a Christmas Teddy Bear Drive for Hospitalized Children and to distribute Teddy Bears to children in hospitals, aids wards and hospices throughout New York City. He called his effort "Teddycare", a registered trademark, and proceeded to invite some of his talented friends to donate their time to put on a series of shows at which Teddy Bears would be collected and at which other monies raised would be donated to various designated charities. This effort has been going strong for many years and the shows I reviewed were part of the 7th Annual Teddycare extravaganza. The host for each show was Mr. Ruby Rims himself. The musical director for all the shows was the very talented John McMahon. The very "electric" Maryann Lopinto, strung with Christmas lights, helped collect the Teddy Bears and taped each of the shows.
The $6300 collected at the shows during this 7th Annual Teddycare Drive went to the Manhattan Plaza Aids Project, an aids service organization that was there to help Mr. Ruby Rims in his time of need. Mr. Ruby Rims states at each show that he is proud that none of the monies donated to the Manhattan Plaza Aids Project are used for administrative expenses. The nearly 1000 Teddy Bears collected at the shows are distributed to sick children in January and February by Mr. Ruby Rims who dresses in a bear suit to deliver them. For his efforts, NY1, the cable news service, designated Mr. Ruby Rims "New Yorker of the Week", the first time that a transgendered individual has ever received this honor. In my opinion, it was well deserved.
The many talented artists who agreed to donate their time to make the shows a success are deserving of thanks and praise. They include Aaron Lee Battle, Jenny Burton, Jack Donahue, Sean McNally, Terri Lynn Paul, Vivian Reed, Marta Sanders, Billy Stritch, Adrianne Tolsch, Mary Bond Davis, Steve Hayes, Michael Marotta, Maureen McNamara, Varla Jean Merman, Michael Murphy, Jane Schechter, Jon Kent Soleather, Marilyn Volpe, Bobby Belfry, Charles Cermele, Rick Crom, Gerry Dieffenbach, Karen Mason, Jeanne MacDonald, Georgia Osborne, Jacqueline Venable, Kelly Briggs, Mary Foster Conklin, Bill Daugherty, Judy Kreston & David Lahm, Jennifer Kruskamp, Sidney Myer, Maureen Kelly Stewart, Jonathan Tomaselli, Tom Andersen, Jeff Harnar, Carlos Martin, Jaymie Meyer, Rick McKay, Phyllis Pastore, Jerry Scott, Vie Tabaac, Margaret Wright, Steven Brinberg, Jim Caruso, Baby Jane Dexter, Thomas Diverniero, Paul Greenwood, David Gurland, Martha Lorin, Shirley Ritenour, James Beaman, Charles Busch, Tommy Femia, Bryan Murphy, Jay Rogers, Richard Skipper, Albert "Diva" Walsh and Miss Julie Wilson. Each performer contributed the equivalent of two numbers to the show they were participating in. Mr. Ruby Rims did an opening and closing number at each show with one encore. In light of the fact that many supporters of Teddycare come to all of the shows, I must say that Mr. Ruby Rims could have done a better job of diversifying his material and could have prepared a few additional numbers to perform. He has so many brilliant numbers in his repertoire. I wish he had used more of them! All of the shows I reviewed were well worth the effort I made to attend them. In light of the fact that all of the shows were benefits, I will not critique each performer's work as I would have had they been appearing in their own shows. Nor will I provide you with a list of songs performed. Instead, I will mention some of the lighter and more serious moments that took place during the shows I reviewed.
At the 8 p.m. show on December 12, 1997, Georgia Osborne said the first reference to PMS in the bible was the verse "And Mary rode Joseph's ass all the way to Bethlehem." Rick Crom told the joke about the "mute guy who goes into a drug store to purchase a condom. Not knowing exactly how to ask for one, he takes out his penis and puts it on the counter along with two dollars. The clerk sees this, pulls his own dick out of his pants, places it on the counter and since it was larger, he took the two dollars." Charles Cermele reiterated his claim that people think he looks like a cross between Michael Feinstein and John Gotti. Mr. Ruby Rims stopped singing in the middle of a song and asked a woman in the audience to close her legs saying "we're getting an echo in here." He also said "I have a frog in my throat. It used to be a prince." Finally, Mr. Ruby Rims told the joke about the "two blondes who froze to death at the drive-in movie. They went to see "Closed for Winter"."
At the 11 p.m. show on December 12, 1997, Sidney Myer sang the wonderful song "A Boy's Life" about what the activities of a boy scout might be. After singing the song, he said that "the closest he ever came to that song was a girl scout cookie." Mr. Ruby Rims stated that he "loves straight people. They're so obvious." To do a Bette Davis impression, Ruby asked for a cigarette. He said "I left mine in the machine." Then as Bette Davis, he said "We've had a request, but I'm going to sing anyway. I'm going to do a little number; no one you know." Mr. Ruby Rims proceeded to tell yet another dumb blonde joke: "Do you know what they call smart blondes?...Golden Retrievers." Finally, before singing "This Is The Moment", Mr. Ruby Rims stated that five years ago, he was diagnosed with aids and since then, he has "realized how precious life is and that you have to live each day as it comes and each moment as it comes."
At the 8 p.m. show on December 19, 1997, Tom Andersen came out in favor of Christmas Cards stating that he has learned over the years how important friends are and that you should send Christmas Cards to "let people know you are thinking about them." At the 11 p.m. show on December 19, 1997, David Gurland said it was odd he was about to sing a song about the infant Jesus since he is "really, really, really Jewish." Mr. Ruby Rims commented that the world has really changed in the past fifteen years. He said "now a cocktail is 22 pills."
At the 8 p.m. show on December 26, 1997, which together with the identical show at 11 p.m. was dedicated primarily to drag queen performers, Mr. Albert "Diva" Walsh stated that he had to take a "survival job" this year, so he didn't have a "church job" which would have allowed him to sing "O Holy Night". Therefore, Mr. Walsh seized the opportunity to sing it here. Mr. Bryan Murphy, who flew in from the north of London just to do this show, said "Never trust a country with only one Queen." Mr. Bryan Murphy also sang a song entitled "Living Next Door To Alice" which required audience participation in the form of their singing "Alice, who the fuck is Alice" at appropriate moments during the song. What a hoot! Extra points to Mr. Bryan Murphy for his large Christmas balls. Lypsinka made a surprise appearance and asked the audience if they knew "the difference between the Titanic and Mr. Ruby Rims?" When no one answered, he said "We all know how many people went down on the Titanic." Charles Busch said it was a long show and that it's getting a bit testy downstairs in the small dressing room. He said "downstairs is like a women's prison picture. Heads are being shaved as we speak."
Mr. Ruby Rims is a Distinguished Artist of the Beaux Arts Society, a community of artists founded in 1857 that is the original sponsor of the only authentic Beaux Arts Ball run in America. Mr. Ruby Rims was also the recipient of a Leonardo da Vinci Award in 1996 for Best Performing Artist for his show "I'm Still Here." If you wish to donate money to the Manhattan Plaza Aids Project or if you wish to donate Teddy Bears to Teddycare, I'm sure that Mr. Ruby Rims would be pleased to hear from you. You may call him directly at 212-279-6541. I encourage you to support Mr. Ruby Rims and Teddycare now and in the years to come!
Sunday, December 11, 2011
Monday, December 5, 2011
Applause! Applause! Review of "Scorcia's Screamers" by Dr. Thomas Robert Stevens
This review of the Stand-Up Comedy Show "Scorcia's Screamers" at M.T. Pockets was written and published by Dr. Thomas Robert Stevens and appeared in Volume I, Issue 2 (December, 1997) of Applause! Applause!
"Scorcia's Screamers" - Assorted Comics
M.T. Pockets (87-06 Queens Blvd, NYC)
"Scorcia's Screamers" is the "comedymark" of Joanne Scorcia, a very good-looking, talented, up-and-coming comic who coordinates "nights of comedy" featuring professional comics at some of the best comedy clubs in New York City. I caught this particular version of her show at M.T. Pockets during their regular Tuesday Comedy Night.
The star of the evening was Andrew Martin. He came across with perfect timing and a professional demeanor which commanded the respect of his audience. Against odds, he used his gay material in front of this almost exclusively straight, drunk audience and was nevertheless able to hit some home runs. He explained that he is writing a new play about a young man who falls in love with a figure skater. He is calling his work "Boy Meets Boitano." He also explained that he is not a pillow biter, one who bites the pillow during the throws of passion. He states that under some circumstances, he might have been a pillow biter, "if that leather gag wasn't keeping my mouth closed." Andrew Martin is a talented young man with a lot of guts who by his mere presence as a comic using gay material before a straight audience is in the forefront of the fight against homophobia and discrimination of gays by society.
Joanne Scorcia and Adam Lake are excellent comics who were not at their best this evening. Brendan Pattison told no jokes. Rey Cassese was full of energy and had a good, strong stage presence. Finally, Pete Dominick, the "comic" and "M.C." struck out. He had no timing, no enthusiasm, no jokes and no energy. His only redeeming virtue was that he knew that midgets are funny. He invited up to the stage as a "side-kick," a drunk midget named L.T. Smalls, who wiggled his hips and took out a "small" business card to show the audience.
"Scorcia's Screamers" - Assorted Comics
M.T. Pockets (87-06 Queens Blvd, NYC)
"Scorcia's Screamers" is the "comedymark" of Joanne Scorcia, a very good-looking, talented, up-and-coming comic who coordinates "nights of comedy" featuring professional comics at some of the best comedy clubs in New York City. I caught this particular version of her show at M.T. Pockets during their regular Tuesday Comedy Night.
The star of the evening was Andrew Martin. He came across with perfect timing and a professional demeanor which commanded the respect of his audience. Against odds, he used his gay material in front of this almost exclusively straight, drunk audience and was nevertheless able to hit some home runs. He explained that he is writing a new play about a young man who falls in love with a figure skater. He is calling his work "Boy Meets Boitano." He also explained that he is not a pillow biter, one who bites the pillow during the throws of passion. He states that under some circumstances, he might have been a pillow biter, "if that leather gag wasn't keeping my mouth closed." Andrew Martin is a talented young man with a lot of guts who by his mere presence as a comic using gay material before a straight audience is in the forefront of the fight against homophobia and discrimination of gays by society.
Joanne Scorcia and Adam Lake are excellent comics who were not at their best this evening. Brendan Pattison told no jokes. Rey Cassese was full of energy and had a good, strong stage presence. Finally, Pete Dominick, the "comic" and "M.C." struck out. He had no timing, no enthusiasm, no jokes and no energy. His only redeeming virtue was that he knew that midgets are funny. He invited up to the stage as a "side-kick," a drunk midget named L.T. Smalls, who wiggled his hips and took out a "small" business card to show the audience.
Applause! Applause! Review of "Straight Out Of Vinnie's Closet" by Dr. Thomas Robert Stevens
This review of the Stand-Up Comedy Show "Straight Out Of Vinnie's Closet" at Stand-Up NY Comedy Club was written and published by Dr. Thomas Robert Stevens and appeared in Volume I, Issue 2 (December, 1997) of Applause! Applause!
"Straight Out Of Vinnie's Closet" - Assorted Comics
Stand-Up NY Comedy Club (236 West 78th Street, NYC)
The first Sunday of every month at 6:45 p.m., Vinnie Costa M.C.'s a show with a great line-up of comics with varied sexual orientations and preferences, from homosexual men who claim they like men, to heterosexual men who claim they like having sex with their comatose grandmothers. Lesbians were well represented on stage, but were under-represented in the audience.
Far and away, the best comic of the evening was Linda Hershovic. She has excellent material, and perfect timing and delivery. She explained that she recently came out to her mom. She wrote her mom "a long note on flowered paper, folded it in three, and then threw it on her grave and ran." While on the beach in Provincetown, a young girl stole the unhooked bikini top of a woman sun-bathing and then ran down the beach. Of course, the woman had to get up to run after the child. Hershovic says she "got a good look and it only cost me a piece of candy." I look forward to catching her act the next time she appears as a headliner.
Vinnie Costa was also excellent both as an M.C. and as a comic. He refers to Lifetime Television as "television for women and gay men." He said that when he was younger, his mom "only let him have boys in his room." So he says, "Thanks mom, you're the best!" Costa did great impersonations of Louis Armstrong and Carol Channing from their roles in Hello, Dolly. He also stated that he "almost lost his gay membership card" because he "wasn't a good dresser." But people said, "Don't worry. You look like a lesbian. You're fine!!"
The "straight" John Viner had a powerful stage presence and I loved his material and his willingness to go where many comics fear to tread. However, he lost his guts in a confrontation with a black lesbian audience member. The only advice I have for him is "No Balls. No Glory!". Alex Sanez has tremendous energy and a great future. Deke Haylon and Sharon Williams can both carve out a niche for themselves and were a cut above the rest of the comic pack! Paul J. Williams, who will soon have a one-man show at Don't Tell Mama on Tuesdays in January told one hilarious joke. He is originally from Dallas and said he misses the grocery stores in Texas which are "so long that you can't see the back of the store because of the curvature of the earth." If he comes up with more material like this, his show will be a success. Also on the program were Janine Driver, Gabby Rubin, Rob Tyler, Ellen Rosenfeld, Poppi Kramer and Lorne Newman. Each had some funny bits to offer and while they might shine on another program, tonight they came in second best, which is not all that bad!
"Straight Out Of Vinnie's Closet" - Assorted Comics
Stand-Up NY Comedy Club (236 West 78th Street, NYC)
The first Sunday of every month at 6:45 p.m., Vinnie Costa M.C.'s a show with a great line-up of comics with varied sexual orientations and preferences, from homosexual men who claim they like men, to heterosexual men who claim they like having sex with their comatose grandmothers. Lesbians were well represented on stage, but were under-represented in the audience.
Far and away, the best comic of the evening was Linda Hershovic. She has excellent material, and perfect timing and delivery. She explained that she recently came out to her mom. She wrote her mom "a long note on flowered paper, folded it in three, and then threw it on her grave and ran." While on the beach in Provincetown, a young girl stole the unhooked bikini top of a woman sun-bathing and then ran down the beach. Of course, the woman had to get up to run after the child. Hershovic says she "got a good look and it only cost me a piece of candy." I look forward to catching her act the next time she appears as a headliner.
Vinnie Costa was also excellent both as an M.C. and as a comic. He refers to Lifetime Television as "television for women and gay men." He said that when he was younger, his mom "only let him have boys in his room." So he says, "Thanks mom, you're the best!" Costa did great impersonations of Louis Armstrong and Carol Channing from their roles in Hello, Dolly. He also stated that he "almost lost his gay membership card" because he "wasn't a good dresser." But people said, "Don't worry. You look like a lesbian. You're fine!!"
The "straight" John Viner had a powerful stage presence and I loved his material and his willingness to go where many comics fear to tread. However, he lost his guts in a confrontation with a black lesbian audience member. The only advice I have for him is "No Balls. No Glory!". Alex Sanez has tremendous energy and a great future. Deke Haylon and Sharon Williams can both carve out a niche for themselves and were a cut above the rest of the comic pack! Paul J. Williams, who will soon have a one-man show at Don't Tell Mama on Tuesdays in January told one hilarious joke. He is originally from Dallas and said he misses the grocery stores in Texas which are "so long that you can't see the back of the store because of the curvature of the earth." If he comes up with more material like this, his show will be a success. Also on the program were Janine Driver, Gabby Rubin, Rob Tyler, Ellen Rosenfeld, Poppi Kramer and Lorne Newman. Each had some funny bits to offer and while they might shine on another program, tonight they came in second best, which is not all that bad!
Applause! Applause! Review of Eric Jackson's "Tell-Tale" by Dr. Thomas Robert Stevens
This review of the play entitled "Tell-Tale" was written and published by Dr. Thomas Robert Stevens and appeared in Volume I, Issue 2 (December, 1997) of Applause! Applause!
"Tell-Tale" - A Play by Eric Jackson
The Cherry Lane Theatre (38 Commerce Street, NYC)
"Tell-Tale", a Theatre Couture Production, is a delightful spoof of horror films, plays and short stories. It is an engrossing, well-written show complete with musical numbers, Latin dances, instant replays, and visual effects by Basil Twist which include moving severed body parts and a black raven, of course. Sherry Vine, a/k/a Keith Levy, plays Lenore Usher, a woman on the edge, who has just made bundles of money publishing a book entitled "Corpus" which has detailed drawings of the human body. Lenore subsequently divorced her husband, Buddy, leaving him with no portion of her fortune and then spent some time in a mental institution before returning to her penthouse and "loyal" servant, Cora Tripetta, played by Jackie Beat, a/k/a Kent Fuher. Juan, a pizza delivery boy, is played by Mario Diaz, who also plays the roles of Buddy Starcher and Detective Sanders. All three actors put in superior performances and are polished professionals.
This play is campy, funny, sexy, intriguing and never boring. The set is wonderful. The musical selections are always appropriate. The visual effects are inventive and the dance numbers are well-executed. The most interesting aspect of this production is what I shall call the "instant replay" which recalls a part of the show that you may or may not have seen and presents that segment in an abbreviated fast motion form so that you get the point without having to listen to all the dialogue that may have transpired. It is a brilliant technique and one that you must see to believe.
Since I dare not say more which might detract from your enjoyment of this excellent show, I will instead report to you some of my favorite lines from the play. After Lenore refuses to answer her door bell, the pizza delivery boy says "I'm holding a meaty twelve incher and I'm not leaving until you take it." After letting him in and seeing that he is wet due to the rain outside, Lenore says "You're soaked to the bone." Juan subsequently says "I'm a big boy with a big appetite." Lenore retorts "Dinner is served!" Lenore also frequently looks at her reflection in the window repeating to herself "Not Nuts! Not Nuts!" Eventually, Lenore dismembers a body while the song "Love Hurts" is played. Cora, helping Lenore dispose of the body parts says "Chop! Chop! Let's go Lizzy!" Buddy to Cora: "Don't shit me!" Cora to Buddy: "If done properly, I won't!" Cora to Detective: "Would you like a stiff one?" Detective: "Two fingers please." Cora: "I'm never satisfied with less than three."
Keith Levy's program note reports that "Ms. Vine can be seen regularly all over Manhattan." Mario Diaz's program note reports that "When not performing, Diaz enjoys taking long walks on the beach, fine dining and robbing convenience stores." Kent Fuher's program note states that he "dedicates this performance to his mother, Liliana, who taught him everything he knows about overacting, histrionics and being a martyr." Go see this fun show!!
"Tell-Tale" - A Play by Eric Jackson
The Cherry Lane Theatre (38 Commerce Street, NYC)
"Tell-Tale", a Theatre Couture Production, is a delightful spoof of horror films, plays and short stories. It is an engrossing, well-written show complete with musical numbers, Latin dances, instant replays, and visual effects by Basil Twist which include moving severed body parts and a black raven, of course. Sherry Vine, a/k/a Keith Levy, plays Lenore Usher, a woman on the edge, who has just made bundles of money publishing a book entitled "Corpus" which has detailed drawings of the human body. Lenore subsequently divorced her husband, Buddy, leaving him with no portion of her fortune and then spent some time in a mental institution before returning to her penthouse and "loyal" servant, Cora Tripetta, played by Jackie Beat, a/k/a Kent Fuher. Juan, a pizza delivery boy, is played by Mario Diaz, who also plays the roles of Buddy Starcher and Detective Sanders. All three actors put in superior performances and are polished professionals.
This play is campy, funny, sexy, intriguing and never boring. The set is wonderful. The musical selections are always appropriate. The visual effects are inventive and the dance numbers are well-executed. The most interesting aspect of this production is what I shall call the "instant replay" which recalls a part of the show that you may or may not have seen and presents that segment in an abbreviated fast motion form so that you get the point without having to listen to all the dialogue that may have transpired. It is a brilliant technique and one that you must see to believe.
Since I dare not say more which might detract from your enjoyment of this excellent show, I will instead report to you some of my favorite lines from the play. After Lenore refuses to answer her door bell, the pizza delivery boy says "I'm holding a meaty twelve incher and I'm not leaving until you take it." After letting him in and seeing that he is wet due to the rain outside, Lenore says "You're soaked to the bone." Juan subsequently says "I'm a big boy with a big appetite." Lenore retorts "Dinner is served!" Lenore also frequently looks at her reflection in the window repeating to herself "Not Nuts! Not Nuts!" Eventually, Lenore dismembers a body while the song "Love Hurts" is played. Cora, helping Lenore dispose of the body parts says "Chop! Chop! Let's go Lizzy!" Buddy to Cora: "Don't shit me!" Cora to Buddy: "If done properly, I won't!" Cora to Detective: "Would you like a stiff one?" Detective: "Two fingers please." Cora: "I'm never satisfied with less than three."
Keith Levy's program note reports that "Ms. Vine can be seen regularly all over Manhattan." Mario Diaz's program note reports that "When not performing, Diaz enjoys taking long walks on the beach, fine dining and robbing convenience stores." Kent Fuher's program note states that he "dedicates this performance to his mother, Liliana, who taught him everything he knows about overacting, histrionics and being a martyr." Go see this fun show!!
Applause! Applause! Review of Perry Payne's "A Merry Perry Christmas" by Dr. Thomas Robert Stevens
This review of Perry Payne in a show entitled "A Merry Perry Christmas" at Eighty Eight's was written and published by Dr. Thomas Robert Stevens and appeared in Volume I, Issue 2 (December, 1997) of Applause! Applause!
"A Merry Perry Christmas" - Perry Payne
Eighty Eight's (228 West 10th Street, NYC)
Perry Payne's Christmas Show, now in its second year, contains an interesting selection of not often heard material. Payne is pretty, pleasant and powerful. The showcase songs for her talent as a singer were clearly "Just In Time For Christmas" and her encore number "Choose A Star". However, the hit of her show, more than worth the full price of admission was her rendition of a hilarious song entitled "Which Team Are You On" written by Douglas Bernstein containing lyrics such as "You're best friend's a fat girl. I'd say that's a clue!". You can catch the rest on Tuesdays at 8:00 p.m. (December 16th & 23rd) and on Saturday, December 27th at 11:00 p.m.. Call 212-924-0088 after 4 p.m. for reservations.
"A Merry Perry Christmas" - Perry Payne
Eighty Eight's (228 West 10th Street, NYC)
Perry Payne's Christmas Show, now in its second year, contains an interesting selection of not often heard material. Payne is pretty, pleasant and powerful. The showcase songs for her talent as a singer were clearly "Just In Time For Christmas" and her encore number "Choose A Star". However, the hit of her show, more than worth the full price of admission was her rendition of a hilarious song entitled "Which Team Are You On" written by Douglas Bernstein containing lyrics such as "You're best friend's a fat girl. I'd say that's a clue!". You can catch the rest on Tuesdays at 8:00 p.m. (December 16th & 23rd) and on Saturday, December 27th at 11:00 p.m.. Call 212-924-0088 after 4 p.m. for reservations.
Applause! Applause! Review of Baby Jane Dexter's "The Real Thing" by Dr. Thomas Robert Stevens
This review of Baby Jane Dexter in a show entitled "The Real Thing" at Eighty Eight's was written and published by Dr. Thomas Robert Stevens and appeared in Volume I, Issue 2 (December, 1997) of Applause! Applause!
"The Real Thing" - Baby Jane Dexter
Eighty Eight's (228 West 10th Street, NYC)
Baby Jane Dexter has hit another home run with her all new show currently at Eighty Eight's. Every song performed in this "intimate opera" is flawless. Dexter fully deserves having won a Leonardo daVinci Award this year for Best Female Vocalist. All you have to do is see her current show to know why. It is of the highest caliber!!
Baby Jane wears an amazing technicolor "singcoat" throughout the opera. It is absolutely gorgeous! Ross Patterson is Dexter's musical director and is, in my opinion, one of the finest musical directors in the business. He is an integral part of this show. His piano solo during "You've Changed" written by Carey/Fisher caused me to reach a new level of appreciation for the music behind the songs.
While normally, I enjoy some reflections or insights between songs, Baby Jane Dexter made an excellent decision to sing all 13 numbers without interruption. The common theme of love and the excellent placement of each song made this show a complete delight!
Baby Jane Dexter informed the audience in the program that she incorporated, as part of her show, "about 15 minutes in the room - after the show - to greet, visit and say goodnight to help make the exit part of this experience a more comfortable one." Since the show started 30 minutes late, her 15 minutes were eaten up and the proposed comfortable experience turned into an uncomfortable one as Baby Jane tried four times to close the cabaret room door which was letting in noise from downstairs in the piano bar while the room's manager insisted the door remain open. However, we did learn during this period that Baby Jane Dexter grew up in Garden City and was the "only girl without a clothing allowance." Dexter explains that this is why she "has the right to sing the blues." We also learned that when she first appeared on a television show, the union wouldn't let her join as Jane Dexter since her mother was already in the union and was using that name. Since they wouldn't let them share it, she tried using Jane Dexter, Jr. and then Jane N. Dexter (which people mis-took to be a duo) and finally, upon a friend's suggestion, Baby Jane Dexter. She explained that rejected names included Bunny Dexter and Rolo Dexter. In my opinion, the 15 minutes of personal interaction she planned was a great idea. However, Baby Jane should base herself on the stage and then stroll out into the audience as the urge strikes her. That way, audience members will not feel left out as they did when she sat down at one particular table and in that way, she will be able to take questions from eager audience members.
Baby Jane Dexter's new show is a smash hit!! It will be playing at Eighty Eight's on Saturdays at 8:30 p.m. on December 13th, 20th & 27th. There is a $15 cover and a 2-drink minimum and is well worth the price. Call 212-924-0088 after 4 p.m. for reservations. Don't miss this show!!
"The Real Thing" - Baby Jane Dexter
Eighty Eight's (228 West 10th Street, NYC)
Baby Jane Dexter has hit another home run with her all new show currently at Eighty Eight's. Every song performed in this "intimate opera" is flawless. Dexter fully deserves having won a Leonardo daVinci Award this year for Best Female Vocalist. All you have to do is see her current show to know why. It is of the highest caliber!!
Baby Jane wears an amazing technicolor "singcoat" throughout the opera. It is absolutely gorgeous! Ross Patterson is Dexter's musical director and is, in my opinion, one of the finest musical directors in the business. He is an integral part of this show. His piano solo during "You've Changed" written by Carey/Fisher caused me to reach a new level of appreciation for the music behind the songs.
While normally, I enjoy some reflections or insights between songs, Baby Jane Dexter made an excellent decision to sing all 13 numbers without interruption. The common theme of love and the excellent placement of each song made this show a complete delight!
Baby Jane Dexter informed the audience in the program that she incorporated, as part of her show, "about 15 minutes in the room - after the show - to greet, visit and say goodnight to help make the exit part of this experience a more comfortable one." Since the show started 30 minutes late, her 15 minutes were eaten up and the proposed comfortable experience turned into an uncomfortable one as Baby Jane tried four times to close the cabaret room door which was letting in noise from downstairs in the piano bar while the room's manager insisted the door remain open. However, we did learn during this period that Baby Jane Dexter grew up in Garden City and was the "only girl without a clothing allowance." Dexter explains that this is why she "has the right to sing the blues." We also learned that when she first appeared on a television show, the union wouldn't let her join as Jane Dexter since her mother was already in the union and was using that name. Since they wouldn't let them share it, she tried using Jane Dexter, Jr. and then Jane N. Dexter (which people mis-took to be a duo) and finally, upon a friend's suggestion, Baby Jane Dexter. She explained that rejected names included Bunny Dexter and Rolo Dexter. In my opinion, the 15 minutes of personal interaction she planned was a great idea. However, Baby Jane should base herself on the stage and then stroll out into the audience as the urge strikes her. That way, audience members will not feel left out as they did when she sat down at one particular table and in that way, she will be able to take questions from eager audience members.
Baby Jane Dexter's new show is a smash hit!! It will be playing at Eighty Eight's on Saturdays at 8:30 p.m. on December 13th, 20th & 27th. There is a $15 cover and a 2-drink minimum and is well worth the price. Call 212-924-0088 after 4 p.m. for reservations. Don't miss this show!!
Applause! Applause! Review of Michel Hermon's "Dietrich Hotel" by Dr. Thomas Robert Stevens
This review of Michel Hermon in a show entitled "Dietrich Hotel" at Don't Tell Mama was written and published by Dr. Thomas Robert Stevens and appeared in Volume I, Issue 2 (December, 1997) of Applause! Applause!
"Dietrich Hotel" - Michel Hermon
Don't Tell Mama (343 West 46th Street, NYC)
Parisian born Michel Hermon successfully evokes the spirit of a dark, decadent, sexually ambivalent Berlin Cabaret in the pre-Nazi era. Appearing as "l'homme Dietrich," Hermon uses a bar stool, a wall, a chair, a piano top, a single high heel shoe and many other props and movements to re-create the image of Marlene Dietrich, vamp. Quentin Crisp defines a "vamp" as "a woman who offers men various degrees of frustration." While modern cabaret applauds shared intimacy, the Berlin Cabaret, as represented by Hermon, offers aloofness and a dark forbidding atmosphere that leaves you always just beyond a glimpse of the performer's true nature. All that is missing is the cigarette smoke!
Michel Hermon sings portions of 23 songs in this well-crafted, well-timed and well-structured show. Hermon has a commanding stage presence and shows feelings, emotions and passion in every muscle twitch, hand movement and verbal inflection. My favorite numbers were "Berlin", written by Lou Reed; "I Get A Kick Out Of You", "The Laziest Gal In Town", and "It's De-Lovely", all written by Porter; "Falling In Love Again" and "The Boys In The Backroom", both written by Hollander; and "Just A Gigolo", written by Caesar and Casucci.
A good number of the songs were sung in French and German. In fact, at one point, four numbers in a row were sung in German. While this helped to evoke the proper atmosphere, Hermon made little effort to set the songs up so that an English speaking audience could better appreciate the history and the story behind each of these numbers. By failing to do so, he left me wishing that I had made more of an effort to study French and German, which made this American momentarily feel culturally inferior; a small elusive victory for the French citizens who champion the superiority of French "civilization" throughout the world. My only other criticism of the show is that it could have done without three encores. Two solid encores would have been quite enough and the show should have ended with "The Boys In The Backroom", a real crowd pleaser, instead of "Miss Otis Regrets".
Michel Hermon is a true international cabaret performer of the highest caliber. The next time you learn that he will be performing in New York City, I urge you to catch the experience. It is quite different from the "run of the mill" cabaret shows that you are used to seeing. You will not be disappointed!
"Dietrich Hotel" - Michel Hermon
Don't Tell Mama (343 West 46th Street, NYC)
Parisian born Michel Hermon successfully evokes the spirit of a dark, decadent, sexually ambivalent Berlin Cabaret in the pre-Nazi era. Appearing as "l'homme Dietrich," Hermon uses a bar stool, a wall, a chair, a piano top, a single high heel shoe and many other props and movements to re-create the image of Marlene Dietrich, vamp. Quentin Crisp defines a "vamp" as "a woman who offers men various degrees of frustration." While modern cabaret applauds shared intimacy, the Berlin Cabaret, as represented by Hermon, offers aloofness and a dark forbidding atmosphere that leaves you always just beyond a glimpse of the performer's true nature. All that is missing is the cigarette smoke!
Michel Hermon sings portions of 23 songs in this well-crafted, well-timed and well-structured show. Hermon has a commanding stage presence and shows feelings, emotions and passion in every muscle twitch, hand movement and verbal inflection. My favorite numbers were "Berlin", written by Lou Reed; "I Get A Kick Out Of You", "The Laziest Gal In Town", and "It's De-Lovely", all written by Porter; "Falling In Love Again" and "The Boys In The Backroom", both written by Hollander; and "Just A Gigolo", written by Caesar and Casucci.
A good number of the songs were sung in French and German. In fact, at one point, four numbers in a row were sung in German. While this helped to evoke the proper atmosphere, Hermon made little effort to set the songs up so that an English speaking audience could better appreciate the history and the story behind each of these numbers. By failing to do so, he left me wishing that I had made more of an effort to study French and German, which made this American momentarily feel culturally inferior; a small elusive victory for the French citizens who champion the superiority of French "civilization" throughout the world. My only other criticism of the show is that it could have done without three encores. Two solid encores would have been quite enough and the show should have ended with "The Boys In The Backroom", a real crowd pleaser, instead of "Miss Otis Regrets".
Michel Hermon is a true international cabaret performer of the highest caliber. The next time you learn that he will be performing in New York City, I urge you to catch the experience. It is quite different from the "run of the mill" cabaret shows that you are used to seeing. You will not be disappointed!
Applause! Applause! Review of Rohn Seykell at Eighty Eight's by Dr. Thomas Robert Stevens
This review of Rohn Seykell at Eighty Eight's was written and published by Dr. Thomas Robert Stevens and appeared in Volume I, Issue 2 (December, 1997) of Applause! Applause!
Rohn Seykell
Eighty Eight's (228 West 10th Street, NYC)
Rohn Seykell is celebrating his 10th Anniversary in Cabaret by performing in a series of concerts at Eighty Eight's to benefit the Life Enhancement Foundation. Seykell is Sensational! He is a great singer and an accomplished actor. Although not as accessible as other entertainers are outside the performing space, Rohn Seykell is nevertheless a friendly person who comes across as a warm hearted, spiritual human being. He deserves every success that will come his way!
As you watch him, you will find yourself transported to "Planet: Seykell", a place where for one hour, you can forget about your life here on Planet: Earth and can lose yourself in the extraordinary talent and charismatic personality of this great performer. The home run of the show was Rohn's rendition of "I Only Want To Say (Gethsemane)" from "Jesus Christ, Superstar". If this was the only song performed during the entire show, I don't think anyone would have demanded their money back.
Other numbers I really enjoyed were "Just In Time"; "Muddy Water" from "Big River"; "Les MiseROHNables" written by the brilliant comedian Rick Crom, who won a Leonardo daVinci Award for Best Comedian in 1996; "Anyone Can Whistle"; "Lean Baby", which allows Rohn to make innovative use of his "lean" microphone stand; and "Honeysuckle Rose", which we learned has been sung by Seykell more than any other song. We also learned from Rohn that "Honeysuckle Rose" is the favorite song of his musical director, Lenny Babbish, because it has the word "suck" in it.
Rohn Seykell also channeled Luvinia Johnson, a Broadway dresser to the stars, who gives us the dirt on some famous actors. We learned for example that "Rosie O'Donnell has more twinkies in her dressing room than does Elton John," and of the difficult personality of Lauren "Someone Dropped The House On My Sister" Bacall. Rohn repeats his often used phrase "just when you thought it couldn't get any queerer," just before he sings a song with Luvinia called "Billygoats and Bumblebees," written by Scott Warrender. Rohn also goes on to do a "right on the money" impersonation of Bette Davis singing, no less.
Rohn Seykell is exuberant, endearing and entertaining. Despite the fact that he has gained quite a few pounds during this past year, he is still as cute and lovable as he always has been. He is one of the greatest cabaret performers of the decade! His career should soar to heights only a select few have ever reached. I have just learned that his show has been extended, which gives you plenty of time to catch him. Rohn Seykell will appear at Eighty Eight's at 8:30 p.m. on Fridays in January (9th, 16th, 23rd & 30th), and will appear at 11 p.m. on Fridays in February. Call 212-924-0088 after 4 p.m. for reservations!!
Rohn Seykell
Eighty Eight's (228 West 10th Street, NYC)
Rohn Seykell is celebrating his 10th Anniversary in Cabaret by performing in a series of concerts at Eighty Eight's to benefit the Life Enhancement Foundation. Seykell is Sensational! He is a great singer and an accomplished actor. Although not as accessible as other entertainers are outside the performing space, Rohn Seykell is nevertheless a friendly person who comes across as a warm hearted, spiritual human being. He deserves every success that will come his way!
As you watch him, you will find yourself transported to "Planet: Seykell", a place where for one hour, you can forget about your life here on Planet: Earth and can lose yourself in the extraordinary talent and charismatic personality of this great performer. The home run of the show was Rohn's rendition of "I Only Want To Say (Gethsemane)" from "Jesus Christ, Superstar". If this was the only song performed during the entire show, I don't think anyone would have demanded their money back.
Other numbers I really enjoyed were "Just In Time"; "Muddy Water" from "Big River"; "Les MiseROHNables" written by the brilliant comedian Rick Crom, who won a Leonardo daVinci Award for Best Comedian in 1996; "Anyone Can Whistle"; "Lean Baby", which allows Rohn to make innovative use of his "lean" microphone stand; and "Honeysuckle Rose", which we learned has been sung by Seykell more than any other song. We also learned from Rohn that "Honeysuckle Rose" is the favorite song of his musical director, Lenny Babbish, because it has the word "suck" in it.
Rohn Seykell also channeled Luvinia Johnson, a Broadway dresser to the stars, who gives us the dirt on some famous actors. We learned for example that "Rosie O'Donnell has more twinkies in her dressing room than does Elton John," and of the difficult personality of Lauren "Someone Dropped The House On My Sister" Bacall. Rohn repeats his often used phrase "just when you thought it couldn't get any queerer," just before he sings a song with Luvinia called "Billygoats and Bumblebees," written by Scott Warrender. Rohn also goes on to do a "right on the money" impersonation of Bette Davis singing, no less.
Rohn Seykell is exuberant, endearing and entertaining. Despite the fact that he has gained quite a few pounds during this past year, he is still as cute and lovable as he always has been. He is one of the greatest cabaret performers of the decade! His career should soar to heights only a select few have ever reached. I have just learned that his show has been extended, which gives you plenty of time to catch him. Rohn Seykell will appear at Eighty Eight's at 8:30 p.m. on Fridays in January (9th, 16th, 23rd & 30th), and will appear at 11 p.m. on Fridays in February. Call 212-924-0088 after 4 p.m. for reservations!!
Murry N. Rothbard's Report On The Formation Of The New York Libertarian Party
The following is Murray N. Rothbard's report on the formation of the New York Libertarian Party (then and now formally known as the Free Libertarian Party of New York). It appeared in Volume V, Number 4 of The Libertarian Forum, a monthly newsletter published in April, 1973.
FLP Convenes: Present At The Creation
by Murray N. Rothbard
On the weekend of March 30-April l, the Free Libertarian Party of New York held its first state convention at the Williams Club in Manhattan, in the process transforming itself from a temporary structure into a permanent, organized political party. Ever since the national Libertarian Party and its state affiliates had been founded a year ago, the editor of the Lib. Forum, while tempted, had held aloof. But to this old political warhorse, the firebell of a Convention proved too much to resist. As the time for the Convention drew near, I made my decision, propitiated the Spirit of Robert LeFevre, and took the plunge: I joined the Party.
As the weekend drew near, I admit to trepidation about what the convention would bring. In the first place, it has been my usual experience that when more than five libertarians (or five anyone-else, for that matter) gather together to meet, it is high time to look for the nearest exit. There is something about any Meeting, or Crowd, that seems either to deaden the spirit or to lead to endless hassles and emotional wrangling. And then there were all the stories one heard about goings-on in various outer reaches of the libertarian movement: "rational bestiality", for example. There were the memories of all the Crazies who had flooded into the first 1969 libertarian conference in New York. And, more concretely, there were stories of a severe and lengthy struggle over the FLP Platform, over attempts to ram an anarchist-Randian platform down the throats of the party, etc. When I opened this door of the libertarian arena on March 30, what joy and/or pain would this new turn bring?
To end the suspense, dear reader, I entered the Williams Club a hopeful skeptic and emerged, exhausted but enthusiastic, forty-eight hours later a celebrant. To my joyful surprise, here was a group of men and women almost all intelligent, dedicated, and knowledgeable about liberty. Here, despite a predictably wide spectrum of temperaments and ideologies, despite occasional emotional hassles, yes despite a twelve (or was it thirteen) hour session on amending the by-laws, here was a group of attractive and intelligent young people who almost literally exuded a spirit of warmth, love, and respect for each other and for the common cause. It was truly a sight to behold. At the risk of being maudlin, I affirm that it was indeed a privilege to be present at the creation of the Free Libertarian Party of New York.
As we shall see further below, the "instincts" of this rather large group of people (approximately 95) were remarkably sound: a blend of high libertarian principle and good common sense and mutual respect that is all too rare in or out of the Movement. And these were Real People; gone was the old predominance of hophead kids, stoned out of their minds and mumbling about "freedom". These were young people with feet on the ground, who do things, who work in the world: scholars, engineers, television people, advertising men, civil servants. I would say that the typical FLP member is an ex-Objectivist with none of the unfortunate personality traits of the latter, who has been moving rapidly into, or on the edge of, anarcho-capitalism. But both the anarcho-capitalists and the sizable minority of limited archists (or "minarchists", to use the happy phrase of Sam Konkin), showed a happy willingness to work together for the large spectrum of common ends.
And then, wonder of wonders to a veteran of the New York movement, there was actually a sizable number of girls at the Convention, ranging moreover from attractive to ravishing (and if this be Male Chauvinism, then make the most of it!) It was also a standing wry joke in the New York movement that the proportion of females ranged from zero to somewhere around one per cent; surely this new quantum leap is a fine omen for the growth and success of the movement. Furthermore, I had personally met no more than a dozen of the delegates before - and this in a movement whose members for a long while barely spilled over the confines of a small living room!
Skipping over the endless by-law amendments, the first major act of the convention was to adopt a set of by-laws with the following admirable set of principles, principles to which all factions and trends in the party could enthusiastically adhere:
"The Free Libertarian Party is a political organization which has as its primary objective the extension of human freedom to its furthest limits. To that end the Party affirms the following principles:
1. That each individual possesses the inalienable right to life and liberty and to justly acquired property.
2. That no person or institution, public or private, has the right to initiate the use of physical force against another.
3. That all individuals are entitled to choose their own life styles as long as they do not forcibly impose their values on others.
4. That the only moral basis of politics is the preservation and protection of human rights.
5. That the voluntary exchange of goods and services is fundamental to any socio-economic system which provides for the harmonious integration of divergent value systems.
In recognition of the fact that the initiation of force by government has been the chief instrument for the expropriation of individual rights and freedom, the Free Libertarian Party enters the political arena for the avowed purpose of eliminating the intervention of government in moral, social and economic affairs."
Bravo!
The first battle, and the first critical decision, of the Convention came on Saturday night. over the adoption of a state platform. By dint of various coincidences and circumstances, the first draft of a platform had been drawn up last summer by one Paul Hodgson, a Randian archist who presented the early sessions of the platform committee with a full-scale Randian archist platform. It did not quite begin with "Existence exists", but there was definitely around the Hodgson draft the unmistakable aura of the philosophy club rather than the political platform. And in virtually every paragraph the Hodgson draft rubbed the anarchist noses in: "The proper function of government is...." To offset the Hodgson forces, the anti~archists in the split platform committee drew up a hastily composed "minority platform". In contrast to Hodgson and his colleagues, there was scarcely a single anarcho-capitalist in the FLP that desired to commit the party to an outright anarchist program, let alone to rule out of court any libertarians who were also Christians, utilitarians. pacifists, or even whim-worshippers. To a man, the anarchists, along with many of the minarchists, wanted an "umbrella" platform that would not drive any of the various tendencies out of the party. But while the Minority Platform was a decided improvement over the Hodgson Platform, it still left much to be desired; and both programs, for example, insisted on taking a stand on the theory of crime and punishment even though this is one of the most disputed and least firmly established aspects of libertarian doctrine.
As the day of the convention neared, then, sentiment in the party grew apace for scrapping the platform altogether. More and more party members began to see that there was no great rush for a state platform: we had the excellent statement of principles, we had, if need be, the national platform adopted last year. But, most interesting of all, sentiment grew, as best expressed by young Tom Avery of the Bronx, for avoiding any platform plank which could not - like the statement of principles - command unanimous consent from each party member. For, otherwise, party members would have to be represented by views and positions which they did not hold. More and more, the "minority" platform writers veered around to a no-platform position, while the few Ultra-Randians abandoned the party in disgust.
On Saturday, the Hodgson platform was smashed, gathering only 4 votes (of which only two represented support for the draft in question), and the minority program received no greater shrift. The no-platform position won overwhelmingly. It was agreed, with great good - and libertarian - sense. that the various party candidates could only speak for themselves, for their own individual positions or for the special committees formed on their behalf. There would be no "party literature" as such.
Sunday was the day for choosing party officers and candidates. The elected officers managed to comprise a worthy cross-section of party activists. Chairwoman of the party (or "Chairperson" as they insist on calling it) is the vivacious Andrea Millen, a TV producer and a leader of the FLP from its inception. The two Vice-Chairmen are Howard Rich, another party founder and a leader and candidate in Rockland County, and Raymond Strong, leader of the Brooklyn party and a Ph.D. in mathematics. Secretary is Mike Nichols and Treasurer is the former Chairman, and a leading party founder, Jerry Klasman. After a spirited and very close election for the three posts of State Committeemen-at-large, elected were: Gary Greenberg, attorney, and head of the New York Libertarian Association; the redoubtable Samuel Edward Konkin, Canadian graduate student in Theoretical Chemistry at New York Uiniversity, editor of the ever improving New Libertarian Notes, and leader of the party's Radical Caucus; and Joe Castrovinci, graduate student in history at City College, CUNY, and early member of the Fordham Libertarian Alliance, the first libertarian student group on the Eastern seaboard.
Running for office is a remarkably full slate of determined candidates. For Mayor, the party has nominated the lovely and articulate Francine Youngstein. instructor in sales for IBM; for President of the City Council, Hill Lawry of Queens; for Comptroller, Tom Avery of the Bronx. Also nominated are: Louis Sicilia for Borough President of Manhattan; Paul Streitz (who was given a good going over for his support of the school voucher scheme) for City Councilman-at-Large from Manhattan; Ray Goldfield for City Councilman from the Coney Island region of Brooklyn; and Spencer Pinney for City Councilman from Queens. Also, the dynamic young Sanford Cohen, of the Poughkeepsie region upstate, expressed his determination to begin running now for Rep. Fish's Congressional office in 1974. All candidates were determined to succeed at the very difficult task, in New York, of actually getting on the ballot in November.
The final act of the convention underlined the good sense and even wisdom of the party membership. A proposal was made for the party to endorse legalized abortion. But while a large majority of the Party favors abortion-freedom, it decided by a 2-to-1 majority to respect the deeply held beliefs of those party members who are convinced that abortion is murder - a position which, for any libertarian, is not self-evidently absurd. In short, the FLP decided not to take a position on the abortion issue.
I submit that the Free Libertarian Party is off to a sparkling start; health, happiness, and long life to the new offspring!
FLP Convenes: Present At The Creation
by Murray N. Rothbard
On the weekend of March 30-April l, the Free Libertarian Party of New York held its first state convention at the Williams Club in Manhattan, in the process transforming itself from a temporary structure into a permanent, organized political party. Ever since the national Libertarian Party and its state affiliates had been founded a year ago, the editor of the Lib. Forum, while tempted, had held aloof. But to this old political warhorse, the firebell of a Convention proved too much to resist. As the time for the Convention drew near, I made my decision, propitiated the Spirit of Robert LeFevre, and took the plunge: I joined the Party.
As the weekend drew near, I admit to trepidation about what the convention would bring. In the first place, it has been my usual experience that when more than five libertarians (or five anyone-else, for that matter) gather together to meet, it is high time to look for the nearest exit. There is something about any Meeting, or Crowd, that seems either to deaden the spirit or to lead to endless hassles and emotional wrangling. And then there were all the stories one heard about goings-on in various outer reaches of the libertarian movement: "rational bestiality", for example. There were the memories of all the Crazies who had flooded into the first 1969 libertarian conference in New York. And, more concretely, there were stories of a severe and lengthy struggle over the FLP Platform, over attempts to ram an anarchist-Randian platform down the throats of the party, etc. When I opened this door of the libertarian arena on March 30, what joy and/or pain would this new turn bring?
To end the suspense, dear reader, I entered the Williams Club a hopeful skeptic and emerged, exhausted but enthusiastic, forty-eight hours later a celebrant. To my joyful surprise, here was a group of men and women almost all intelligent, dedicated, and knowledgeable about liberty. Here, despite a predictably wide spectrum of temperaments and ideologies, despite occasional emotional hassles, yes despite a twelve (or was it thirteen) hour session on amending the by-laws, here was a group of attractive and intelligent young people who almost literally exuded a spirit of warmth, love, and respect for each other and for the common cause. It was truly a sight to behold. At the risk of being maudlin, I affirm that it was indeed a privilege to be present at the creation of the Free Libertarian Party of New York.
As we shall see further below, the "instincts" of this rather large group of people (approximately 95) were remarkably sound: a blend of high libertarian principle and good common sense and mutual respect that is all too rare in or out of the Movement. And these were Real People; gone was the old predominance of hophead kids, stoned out of their minds and mumbling about "freedom". These were young people with feet on the ground, who do things, who work in the world: scholars, engineers, television people, advertising men, civil servants. I would say that the typical FLP member is an ex-Objectivist with none of the unfortunate personality traits of the latter, who has been moving rapidly into, or on the edge of, anarcho-capitalism. But both the anarcho-capitalists and the sizable minority of limited archists (or "minarchists", to use the happy phrase of Sam Konkin), showed a happy willingness to work together for the large spectrum of common ends.
And then, wonder of wonders to a veteran of the New York movement, there was actually a sizable number of girls at the Convention, ranging moreover from attractive to ravishing (and if this be Male Chauvinism, then make the most of it!) It was also a standing wry joke in the New York movement that the proportion of females ranged from zero to somewhere around one per cent; surely this new quantum leap is a fine omen for the growth and success of the movement. Furthermore, I had personally met no more than a dozen of the delegates before - and this in a movement whose members for a long while barely spilled over the confines of a small living room!
Skipping over the endless by-law amendments, the first major act of the convention was to adopt a set of by-laws with the following admirable set of principles, principles to which all factions and trends in the party could enthusiastically adhere:
"The Free Libertarian Party is a political organization which has as its primary objective the extension of human freedom to its furthest limits. To that end the Party affirms the following principles:
1. That each individual possesses the inalienable right to life and liberty and to justly acquired property.
2. That no person or institution, public or private, has the right to initiate the use of physical force against another.
3. That all individuals are entitled to choose their own life styles as long as they do not forcibly impose their values on others.
4. That the only moral basis of politics is the preservation and protection of human rights.
5. That the voluntary exchange of goods and services is fundamental to any socio-economic system which provides for the harmonious integration of divergent value systems.
In recognition of the fact that the initiation of force by government has been the chief instrument for the expropriation of individual rights and freedom, the Free Libertarian Party enters the political arena for the avowed purpose of eliminating the intervention of government in moral, social and economic affairs."
Bravo!
The first battle, and the first critical decision, of the Convention came on Saturday night. over the adoption of a state platform. By dint of various coincidences and circumstances, the first draft of a platform had been drawn up last summer by one Paul Hodgson, a Randian archist who presented the early sessions of the platform committee with a full-scale Randian archist platform. It did not quite begin with "Existence exists", but there was definitely around the Hodgson draft the unmistakable aura of the philosophy club rather than the political platform. And in virtually every paragraph the Hodgson draft rubbed the anarchist noses in: "The proper function of government is...." To offset the Hodgson forces, the anti~archists in the split platform committee drew up a hastily composed "minority platform". In contrast to Hodgson and his colleagues, there was scarcely a single anarcho-capitalist in the FLP that desired to commit the party to an outright anarchist program, let alone to rule out of court any libertarians who were also Christians, utilitarians. pacifists, or even whim-worshippers. To a man, the anarchists, along with many of the minarchists, wanted an "umbrella" platform that would not drive any of the various tendencies out of the party. But while the Minority Platform was a decided improvement over the Hodgson Platform, it still left much to be desired; and both programs, for example, insisted on taking a stand on the theory of crime and punishment even though this is one of the most disputed and least firmly established aspects of libertarian doctrine.
As the day of the convention neared, then, sentiment in the party grew apace for scrapping the platform altogether. More and more party members began to see that there was no great rush for a state platform: we had the excellent statement of principles, we had, if need be, the national platform adopted last year. But, most interesting of all, sentiment grew, as best expressed by young Tom Avery of the Bronx, for avoiding any platform plank which could not - like the statement of principles - command unanimous consent from each party member. For, otherwise, party members would have to be represented by views and positions which they did not hold. More and more, the "minority" platform writers veered around to a no-platform position, while the few Ultra-Randians abandoned the party in disgust.
On Saturday, the Hodgson platform was smashed, gathering only 4 votes (of which only two represented support for the draft in question), and the minority program received no greater shrift. The no-platform position won overwhelmingly. It was agreed, with great good - and libertarian - sense. that the various party candidates could only speak for themselves, for their own individual positions or for the special committees formed on their behalf. There would be no "party literature" as such.
Sunday was the day for choosing party officers and candidates. The elected officers managed to comprise a worthy cross-section of party activists. Chairwoman of the party (or "Chairperson" as they insist on calling it) is the vivacious Andrea Millen, a TV producer and a leader of the FLP from its inception. The two Vice-Chairmen are Howard Rich, another party founder and a leader and candidate in Rockland County, and Raymond Strong, leader of the Brooklyn party and a Ph.D. in mathematics. Secretary is Mike Nichols and Treasurer is the former Chairman, and a leading party founder, Jerry Klasman. After a spirited and very close election for the three posts of State Committeemen-at-large, elected were: Gary Greenberg, attorney, and head of the New York Libertarian Association; the redoubtable Samuel Edward Konkin, Canadian graduate student in Theoretical Chemistry at New York Uiniversity, editor of the ever improving New Libertarian Notes, and leader of the party's Radical Caucus; and Joe Castrovinci, graduate student in history at City College, CUNY, and early member of the Fordham Libertarian Alliance, the first libertarian student group on the Eastern seaboard.
Running for office is a remarkably full slate of determined candidates. For Mayor, the party has nominated the lovely and articulate Francine Youngstein. instructor in sales for IBM; for President of the City Council, Hill Lawry of Queens; for Comptroller, Tom Avery of the Bronx. Also nominated are: Louis Sicilia for Borough President of Manhattan; Paul Streitz (who was given a good going over for his support of the school voucher scheme) for City Councilman-at-Large from Manhattan; Ray Goldfield for City Councilman from the Coney Island region of Brooklyn; and Spencer Pinney for City Councilman from Queens. Also, the dynamic young Sanford Cohen, of the Poughkeepsie region upstate, expressed his determination to begin running now for Rep. Fish's Congressional office in 1974. All candidates were determined to succeed at the very difficult task, in New York, of actually getting on the ballot in November.
The final act of the convention underlined the good sense and even wisdom of the party membership. A proposal was made for the party to endorse legalized abortion. But while a large majority of the Party favors abortion-freedom, it decided by a 2-to-1 majority to respect the deeply held beliefs of those party members who are convinced that abortion is murder - a position which, for any libertarian, is not self-evidently absurd. In short, the FLP decided not to take a position on the abortion issue.
I submit that the Free Libertarian Party is off to a sparkling start; health, happiness, and long life to the new offspring!
Sunday, December 4, 2011
Applause! Applause! Review of Christian Nova's "Walking Happy" by Maya T. Amis
This review of Christian Nova's show entitled "Walking Happy" at Don't Tell Mama was written by Maya T. Amis and appeared in Volume I, Issue 2 (December, 1997) of Applause! Applause! published by Dr. Thomas Robert Stevens.
"Walking Happy" - Christian Nova
Don't Tell Mama (343 West 46th Street, NYC)
Christian Nova won the MAC award last year for Outstanding Male Vocalist, and no wonder. His new show, celebrating the release of the CD of the same name, is up to the standards of his last two shows, "Waitin" and "Feather In My Shoe", showcasing his outgoing personality, beautiful voice, and intelligent interpretations.
This is a show about the music that has shaped his life, from show tunes to pop spanning several decades. There isn't a bad number in the lot; merely a few standouts among an entire evening of standouts. A medley of Billy Joel's "Where's the Orchestra?" and of the standard "My Foolish Heart" melds the two into a dramatic whole, with an effective juxtaposition of hope and regret supported by some lush piano by musical director Wes McAfee. A much lighter song, "Sweet Gingerbread Man", is a bouncy little number just popping with wide-eyed optimism. Nova brings something extra to Craig Carnelia's beautiful "What You'd Call A Dream" that is very close to magic. The dreaminess in his eyes and hushed excitement in his voice perfectly mirror the mood of the song.
His contagious enthusiasm and clear emotional connection communicate themselves to the audience, making the show much more than merely a group of pretty songs, sung well. Instead, and appropriately for cabaret, it is also a series of shared memories and emotions, expertly delineated by his expressive voice and sensitive readings of the songs. As a supplement to catching Christian Nova perform, whenever and wherever you can, I strongly recommend the CD; it captures much of his ability of communicating feelings as well as his first-class voice, has an interesting selection of music, and is backed up by excellent musicians.
"Walking Happy" - Christian Nova
Don't Tell Mama (343 West 46th Street, NYC)
Christian Nova won the MAC award last year for Outstanding Male Vocalist, and no wonder. His new show, celebrating the release of the CD of the same name, is up to the standards of his last two shows, "Waitin" and "Feather In My Shoe", showcasing his outgoing personality, beautiful voice, and intelligent interpretations.
This is a show about the music that has shaped his life, from show tunes to pop spanning several decades. There isn't a bad number in the lot; merely a few standouts among an entire evening of standouts. A medley of Billy Joel's "Where's the Orchestra?" and of the standard "My Foolish Heart" melds the two into a dramatic whole, with an effective juxtaposition of hope and regret supported by some lush piano by musical director Wes McAfee. A much lighter song, "Sweet Gingerbread Man", is a bouncy little number just popping with wide-eyed optimism. Nova brings something extra to Craig Carnelia's beautiful "What You'd Call A Dream" that is very close to magic. The dreaminess in his eyes and hushed excitement in his voice perfectly mirror the mood of the song.
His contagious enthusiasm and clear emotional connection communicate themselves to the audience, making the show much more than merely a group of pretty songs, sung well. Instead, and appropriately for cabaret, it is also a series of shared memories and emotions, expertly delineated by his expressive voice and sensitive readings of the songs. As a supplement to catching Christian Nova perform, whenever and wherever you can, I strongly recommend the CD; it captures much of his ability of communicating feelings as well as his first-class voice, has an interesting selection of music, and is backed up by excellent musicians.
Applause! Applause! Review of Tim DiPasqua's "Originals" by Rita Sola
This review of Tim DiPasqua's show entitled "Originals" at Don't Tell Mama was written by Rita Sola and appeared in Volume I, Issue 2 (December, 1997) of Applause! Applause! published by Dr. Thomas Robert Stevens.
"Originals" - Tim DiPasqua
Don't Tell Mama (343 West 46th Street, NYC)
There was a moment in Tim DiPasqua's recent appearance at Don't Tell Mama which can only be described as tumultuous silence. It came as he sang the last note of his new song "When He Walks Through The Door." The silence, of course, was in the room, the tumult -- of emotions -- was in the listener. The song describes the destruction of a woman's soul. After becoming a wife, the fulfillment of a life-long dream, she finds herself cringing in terror each time her husband approaches. Sung and played with powerful understatement by the composer, it is a wrenching experience, particularly towards the end. After forty-five years, "A time now of truce...he won't hit any more but she still hides her head when he walks through the door." The ending: "...now she plays dead when he walks through the door."
It's an old mystery: why do those of us addicted to the arts so often describe as beautiful, great works that are not only sad, but painful? An example: Michelangelo's Pieta, which is, in fact, the statue of a mother holding her dead son in her arms. In Italian, "pieta" means both pity and piety, two words also used interchangeably in English until the 1600's. Then came the Age of Reason and, with it, skepticism and agnosticism. Now with pity, there is the connotation of despair; with piety, however, there is hope. Perhaps finding beauty in the tragic is, in reality, a form of faith.
Some recent songs have demonstrated this. Whether written with subtle grace as is Tom Andersen's "Yard Sale", about an AIDS victim selling all his worldly goods, or consuming rage as is Baby Jane Dexter's "Fifteen Ugly Minutes" about a violent rape, these songs are emotionally lacerating...and gorgeous. Tim's song is one of them.
Besides the one between pity and piety, there is also a fine line between a lover and a friend, Tim tells us in "When You Would Sing With Me" dedicated to his one-time (and long-time) musical partner, Tom Andersen, to whom we must be eternally grateful for encouraging Tim to go out on his own. The song is a poetic tribute to an exceptionally strong friendship. It is a spiritual, rather than a self-consciously spirited piece like many old standards of the "Put It There, Pal" variety. Instead we have, "...your heart beats with mine. I know what you're thinking even before you do." How many people do you know, even in a romantic relationship, who can say that?
There were lively numbers too in the program which was called "Originals" and certainly was. Particular favorites: "You Make Me Nuts" and "When Love Comes Around". And lovely ballads: "That Feels So Good", " I Had Myself A Lover", "Maybe You Didn't Hear Me", and more, all sung and played wonderfully by the composer who was ably accompanied by Timothy Wilson on the violin and Doug Romoff on the bass.
The run has ended but Tim DiPasqua does appear regularly at Don't Tell Mama. Next time he's back at the piano, do tell mama and everyone else you know and go.
"Originals" - Tim DiPasqua
Don't Tell Mama (343 West 46th Street, NYC)
There was a moment in Tim DiPasqua's recent appearance at Don't Tell Mama which can only be described as tumultuous silence. It came as he sang the last note of his new song "When He Walks Through The Door." The silence, of course, was in the room, the tumult -- of emotions -- was in the listener. The song describes the destruction of a woman's soul. After becoming a wife, the fulfillment of a life-long dream, she finds herself cringing in terror each time her husband approaches. Sung and played with powerful understatement by the composer, it is a wrenching experience, particularly towards the end. After forty-five years, "A time now of truce...he won't hit any more but she still hides her head when he walks through the door." The ending: "...now she plays dead when he walks through the door."
It's an old mystery: why do those of us addicted to the arts so often describe as beautiful, great works that are not only sad, but painful? An example: Michelangelo's Pieta, which is, in fact, the statue of a mother holding her dead son in her arms. In Italian, "pieta" means both pity and piety, two words also used interchangeably in English until the 1600's. Then came the Age of Reason and, with it, skepticism and agnosticism. Now with pity, there is the connotation of despair; with piety, however, there is hope. Perhaps finding beauty in the tragic is, in reality, a form of faith.
Some recent songs have demonstrated this. Whether written with subtle grace as is Tom Andersen's "Yard Sale", about an AIDS victim selling all his worldly goods, or consuming rage as is Baby Jane Dexter's "Fifteen Ugly Minutes" about a violent rape, these songs are emotionally lacerating...and gorgeous. Tim's song is one of them.
Besides the one between pity and piety, there is also a fine line between a lover and a friend, Tim tells us in "When You Would Sing With Me" dedicated to his one-time (and long-time) musical partner, Tom Andersen, to whom we must be eternally grateful for encouraging Tim to go out on his own. The song is a poetic tribute to an exceptionally strong friendship. It is a spiritual, rather than a self-consciously spirited piece like many old standards of the "Put It There, Pal" variety. Instead we have, "...your heart beats with mine. I know what you're thinking even before you do." How many people do you know, even in a romantic relationship, who can say that?
There were lively numbers too in the program which was called "Originals" and certainly was. Particular favorites: "You Make Me Nuts" and "When Love Comes Around". And lovely ballads: "That Feels So Good", " I Had Myself A Lover", "Maybe You Didn't Hear Me", and more, all sung and played wonderfully by the composer who was ably accompanied by Timothy Wilson on the violin and Doug Romoff on the bass.
The run has ended but Tim DiPasqua does appear regularly at Don't Tell Mama. Next time he's back at the piano, do tell mama and everyone else you know and go.
Applause! Applause! Review of Bob Smith at Catch A Rising Star by Rita Sola
This review of Bob Smith at Catch A Rising Star was written by Rita Sola and appeared in Volume I, Issue 2 (December, 1997) of Applause! Applause! published by Dr. Thomas Robert Stevens.
Bob Smith
Catch A Rising Star (253 West 28th Street, NYC)
Bob Smith explains why as a kid, he knew he was gay. "My boy scout survival kit had a spice rack...My tree house had a breakfast nook...The other kids brought apples. I brought my teachers Baked Pears Alicia." Although there was exuberant laughter at these and other quips, a few members of Bob's audience at Catch A Rising Star last month were visibly uncomfortable. It's okay to tell jokes like that to us, they seemed to be thinking. We get the point. But what about those tourists from Texas at the next table?
Well, what about them? The fear is that a corn-fed fundie, burping into his beer bottle (also a stereotype) will be confirmed in his homophobia. See that there, Jimmy Joe. They do have track lighting in their refrigerators. This Smith boy says so. But the hope is that anyone with an IQ higher than that of a dog biscuit will see the absurdities Bob is pointing out in his humor. During the Gulf War, comic Elayne Boosler gave her version of what might have happened if we had had a woman president at the time, one, moreover, experiencing PMS. Her message to Hussein: "How dare you invade Kuwait while I'm retaining water!" Was Boosler (an ardent feminist), ridiculing the idea of a woman president or the idiocy of believing one would make such a statement? Comics like Boosler and Smith don't just play with stereotypes, they blow them up like balloons until they burst.
Although Bob Smith uses this indirect approach to attack homophobia, he makes plenty of direct jabs. To the Church's dictum that it's OK to be homosexual, as long as you don't practice homosexuality, he answers, "I think it's OK to be Catholic, as long as you don't practice Catholicism." At this point, Bob, himself reared in the Church, related his boyhood memory of a gay priest, Father Mary Louise, whose (stereo)typical penance was "Watch The Ten Commandments three times. Wasn't Anne Baxter terrible?"
One of the highlights of Bob's show is his reading of a gay wedding announcement. "Mr. and Mrs. Stephen Douglas have reluctantly announced the engagement of their son, Timothy, to Mitchell Feldman, the son of the stunned Dr. and Mrs. Saul Feldman. A May commitment ceremony is planned with an awkward reception to follow. At the parent's request, there will be an open bar during the ceremony."
Bob ends with the show-and-tell of a booklet, intended for kindergarten children, which he wrote and illustrated while in sixth grade and which had been lovingly preserved by his mother in Saran Wrap. The story is about a young dinosaur named Ben who one day meets another dinosaur. Containing lines such as, "Hi, my name is Tom. What's your name? Want to be friends? Let's go for a walk. Boy, it's hot today. Do you want to go to the river?", the otherwise innocent dialogue written by Bob the child, takes on new and hilarious meaning when read by Bob the adult. Bob concludes that the whole story reads "like a gay Jurassic Park."
One of the strongest features of Bob Smith's act is his (pardon the expression) straight delivery. At moments he seems like a little boy who can't believe the things he's relating. If you didn't catch him at Catch last month, make it a point to see him next time he's in town. You won't be sorry!
Bob Smith
Catch A Rising Star (253 West 28th Street, NYC)
Bob Smith explains why as a kid, he knew he was gay. "My boy scout survival kit had a spice rack...My tree house had a breakfast nook...The other kids brought apples. I brought my teachers Baked Pears Alicia." Although there was exuberant laughter at these and other quips, a few members of Bob's audience at Catch A Rising Star last month were visibly uncomfortable. It's okay to tell jokes like that to us, they seemed to be thinking. We get the point. But what about those tourists from Texas at the next table?
Well, what about them? The fear is that a corn-fed fundie, burping into his beer bottle (also a stereotype) will be confirmed in his homophobia. See that there, Jimmy Joe. They do have track lighting in their refrigerators. This Smith boy says so. But the hope is that anyone with an IQ higher than that of a dog biscuit will see the absurdities Bob is pointing out in his humor. During the Gulf War, comic Elayne Boosler gave her version of what might have happened if we had had a woman president at the time, one, moreover, experiencing PMS. Her message to Hussein: "How dare you invade Kuwait while I'm retaining water!" Was Boosler (an ardent feminist), ridiculing the idea of a woman president or the idiocy of believing one would make such a statement? Comics like Boosler and Smith don't just play with stereotypes, they blow them up like balloons until they burst.
Although Bob Smith uses this indirect approach to attack homophobia, he makes plenty of direct jabs. To the Church's dictum that it's OK to be homosexual, as long as you don't practice homosexuality, he answers, "I think it's OK to be Catholic, as long as you don't practice Catholicism." At this point, Bob, himself reared in the Church, related his boyhood memory of a gay priest, Father Mary Louise, whose (stereo)typical penance was "Watch The Ten Commandments three times. Wasn't Anne Baxter terrible?"
One of the highlights of Bob's show is his reading of a gay wedding announcement. "Mr. and Mrs. Stephen Douglas have reluctantly announced the engagement of their son, Timothy, to Mitchell Feldman, the son of the stunned Dr. and Mrs. Saul Feldman. A May commitment ceremony is planned with an awkward reception to follow. At the parent's request, there will be an open bar during the ceremony."
Bob ends with the show-and-tell of a booklet, intended for kindergarten children, which he wrote and illustrated while in sixth grade and which had been lovingly preserved by his mother in Saran Wrap. The story is about a young dinosaur named Ben who one day meets another dinosaur. Containing lines such as, "Hi, my name is Tom. What's your name? Want to be friends? Let's go for a walk. Boy, it's hot today. Do you want to go to the river?", the otherwise innocent dialogue written by Bob the child, takes on new and hilarious meaning when read by Bob the adult. Bob concludes that the whole story reads "like a gay Jurassic Park."
One of the strongest features of Bob Smith's act is his (pardon the expression) straight delivery. At moments he seems like a little boy who can't believe the things he's relating. If you didn't catch him at Catch last month, make it a point to see him next time he's in town. You won't be sorry!
Applause! Applause! Review of Scott Hamilton's CD "Christmas Love Song" by Marle Becker
This review of Scott Hamilton's CD "Christmas Love Song" was written by Marle Becker and appeared in Volume I, Issue 2 (December, 1997) of Applause! Applause! published by Dr. Thomas Robert Stevens.
"Christmas Love Song" - Scott Hamilton
(Concord Jazz, CCD-4771-2)
If you prefer your holiday hits on the soft and dreamy side, by far the most intimate and romantic Christmas CD this season comes from tenor saxophonist Scott Hamilton. Reuniting Hamilton and Grammy Award-winning arranger/conductor Alan Broadbent once again proves to be a winning combination. Add the London String Ensemble and you've got lush, colorful interpretations of holiday classics like you might never have imagined. Sexy, warm, and wonderful; ideal for seducing your favorite gal/guy during December or for reflecting solo on the past year. Happy Holidays!
"Christmas Love Song" - Scott Hamilton
(Concord Jazz, CCD-4771-2)
If you prefer your holiday hits on the soft and dreamy side, by far the most intimate and romantic Christmas CD this season comes from tenor saxophonist Scott Hamilton. Reuniting Hamilton and Grammy Award-winning arranger/conductor Alan Broadbent once again proves to be a winning combination. Add the London String Ensemble and you've got lush, colorful interpretations of holiday classics like you might never have imagined. Sexy, warm, and wonderful; ideal for seducing your favorite gal/guy during December or for reflecting solo on the past year. Happy Holidays!
Applause! Applause! Review of Audrey Morris' CD "Film Noir" by Marle Becker
This review of Audrey Morris' CD "Film Noir" was written by Marle Becker and appeared in Volume I, Issue 2 (December, 1997) of Applause! Applause! published by Dr. Thomas Robert Stevens.
"Film Noir" - Audrey Morris
(Fancy Faire, 7845)
Some eight years ago, I reviewed the "new" CD by an amazingly talented, yet relatively unknown, Chicago-based singer/pianist by the name of Audrey Morris. Back then, I thought it was the ultimate concept album and one of the very best CD's I'd ever heard. I still do! Recorded in 1989 - long before the current Carly Simon project - Ms. Morris' "Film Noir", a true original, stands as tangible proof of what really, yet rarely happens when a prolific singer like Ms. Morris and truly great songs come together. This CD has been painstakingly researched, is unmistakably focused, and is exquisitely performed. This is the real thing. This "Film Noir" is deeply intimate, now-and-then sentimental, occasionally vulnerable, yet always dark and moody - as it should be - and, yes, even romantically reflective. Now in its second pressing, "Film Noir" by Audrey Morris is just about as perfect as it gets, yet without the money and promotion of a major record label behind it, this CD stands to get lost in the shuffle. If all the brou-ha-ha surrounding the release of Ms. Simon's "Film Noir" seems to invite comparisons, I'm afraid I'll have to go with the original "Film Noir"; the authentic "Film Noir"; the Audrey Morris "Film Noir." If not available at your local record outlet, you can reach Fancy Faire at 773-763-2033.
"Film Noir" - Audrey Morris
(Fancy Faire, 7845)
Some eight years ago, I reviewed the "new" CD by an amazingly talented, yet relatively unknown, Chicago-based singer/pianist by the name of Audrey Morris. Back then, I thought it was the ultimate concept album and one of the very best CD's I'd ever heard. I still do! Recorded in 1989 - long before the current Carly Simon project - Ms. Morris' "Film Noir", a true original, stands as tangible proof of what really, yet rarely happens when a prolific singer like Ms. Morris and truly great songs come together. This CD has been painstakingly researched, is unmistakably focused, and is exquisitely performed. This is the real thing. This "Film Noir" is deeply intimate, now-and-then sentimental, occasionally vulnerable, yet always dark and moody - as it should be - and, yes, even romantically reflective. Now in its second pressing, "Film Noir" by Audrey Morris is just about as perfect as it gets, yet without the money and promotion of a major record label behind it, this CD stands to get lost in the shuffle. If all the brou-ha-ha surrounding the release of Ms. Simon's "Film Noir" seems to invite comparisons, I'm afraid I'll have to go with the original "Film Noir"; the authentic "Film Noir"; the Audrey Morris "Film Noir." If not available at your local record outlet, you can reach Fancy Faire at 773-763-2033.
Applause! Applause! Review of the CD "L.A. Confidential" by Marle Becker
This review of the CD Soundtrack of "L.A. Confidential" was written by Marle Becker and appeared in Volume I, Issue 2 (December, 1997) of Applause! Applause! published by Dr. Thomas Robert Stevens.
"L.A. Confidential" Soundtrack - Various Artists
(Restless Records, 01877-72946-2)
Of the hundreds of film soundtracks vying for your attention these days, few hold up once the final credits finish rolling. The music behind "L.A. Confidential", director Curtis Hanson's exquisitely detailed portrait of crime and corruption in the 1950's, is not only significant enough to demand airplay on its own, but also truly deserving of inclusion in even the most discriminating music lover's collection. From Betty Hutton, Lee Wiley, and Dean Martin's contributions right on down to a bona fide clip of Joni James singing "How Important Can It Be" on an old Perry Como TV show, this translucent kaleidoscope of pop music is as authentic and true to the film as the actors are to the characters in James Ellroy's novel. The "L.A. Confidential" soundtrack, also produced and compiled by Mr. Hanson, is a veritable mother lode of great 50's classics, a CD certainly worth the money. These days, that's saying something!
"L.A. Confidential" Soundtrack - Various Artists
(Restless Records, 01877-72946-2)
Of the hundreds of film soundtracks vying for your attention these days, few hold up once the final credits finish rolling. The music behind "L.A. Confidential", director Curtis Hanson's exquisitely detailed portrait of crime and corruption in the 1950's, is not only significant enough to demand airplay on its own, but also truly deserving of inclusion in even the most discriminating music lover's collection. From Betty Hutton, Lee Wiley, and Dean Martin's contributions right on down to a bona fide clip of Joni James singing "How Important Can It Be" on an old Perry Como TV show, this translucent kaleidoscope of pop music is as authentic and true to the film as the actors are to the characters in James Ellroy's novel. The "L.A. Confidential" soundtrack, also produced and compiled by Mr. Hanson, is a veritable mother lode of great 50's classics, a CD certainly worth the money. These days, that's saying something!
Applause! Applause! Review of "Everything Old Is 'Zoo' Again" by Andrew Martin
This review of "Everything Old Is 'Zoo' Again" was written by Andrew Martin and appeared in Volume I, Issue 2 (December, 1997) of Applause! Applause! published by Dr. Thomas Robert Stevens.
Everything Old Is "Zoo" Again
At the beginning of autumn, I received notice from cabaret supergroup Doo-Wa-Zoo that the group was changing its name to Elixir. They would celebrate this change with a sensational a cappella show at the Bottom Line, on a bill with Minimum Wage and former members of Rockapella, among others. It seemed, for a short few weeks, that Elixir was really and truly on its much-deserved way. To make a long story short, the group has since learned of no less than four bands with the same name, and has reverted back to the name Doo-Wa-Zoo. They are celebrating the reclamation of the name with a concert at the Bitter End on December 9th.
Either way, the group (comprised of Kat Cogswell, Debi Hollie, Karen Mack, Stack, and Michael Werkhizer) are still on their way, and it's only a matter of time. If you missed them at the Bottom Line, and cannot see them at the Bitter End, get yourself to a future engagement.
Everything Old Is "Zoo" Again
At the beginning of autumn, I received notice from cabaret supergroup Doo-Wa-Zoo that the group was changing its name to Elixir. They would celebrate this change with a sensational a cappella show at the Bottom Line, on a bill with Minimum Wage and former members of Rockapella, among others. It seemed, for a short few weeks, that Elixir was really and truly on its much-deserved way. To make a long story short, the group has since learned of no less than four bands with the same name, and has reverted back to the name Doo-Wa-Zoo. They are celebrating the reclamation of the name with a concert at the Bitter End on December 9th.
Either way, the group (comprised of Kat Cogswell, Debi Hollie, Karen Mack, Stack, and Michael Werkhizer) are still on their way, and it's only a matter of time. If you missed them at the Bottom Line, and cannot see them at the Bitter End, get yourself to a future engagement.
Applause! Applause! Review of Paul Hallasy's "Addicted To Love" by Andrew Martin
This review of Paul Hallasy's "Addicted To Love" at The Duplex was written by Andrew Martin and appeared in Volume I, Issue 2 (December, 1997) of Applause! Applause! published by Dr. Thomas Robert Stevens.
"Addicted To Love" - Paul Hallasy
The Duplex (61 Christopher Street, NYC)
"These days, I only go to shows where I've heard of the performer," I recently told a friend, who asked me to bring him to a recent act by newcomer Paul Hallasy at the Duplex. And it's true - if there's one thing this critic has learned, it's that you just can't see everybody and now there are so many people to see. However, I enjoy discovering new talent as much as the next guy. Plus, the show was directed by Linda Amiel Burns with musical direction by Bryon Sommers, and those two points alone seemed to make it worth catching.
I regret to say I'm rather sorry I attended. The direction and musical direction were solid; in fact, the direction and musical direction were perfect. However, these elements only served to heighten what was in fact a painful experience for the viewer/listener. Paul Hallasy has a voice that, coupled with a series of jerky head and shoulder movements on this all-pop set, entitled "Addicted To Love", would be far better suited to Violent Femmes-style cover bands at Don Hill's Squeezebox. Of the twelve excruciating selections, only the ballad "Baby's Got Blue Eyes" rendered this show a barely-passing grade, and even that's an overstatement. A section near the act's end with a quick change into Dusty Springfield drag was, in fact, the absolute nadir; for us Dusty Springfield fans, this section was first embarrassing, then disrespectful, then anger-inducing. It's not even that this show wasn't ready to be reviewed. It simply didn't work.
Paul Hallasy can be redeemed as a cabaret artist...with better material, better command of the stage, and some serious time to think. Apparently, the gentleman is a novelist with an ever-growing cult, and is therefore not without intelligence. This critic might well attend his next show just to see if some requisite changes have been made.
"Addicted To Love" - Paul Hallasy
The Duplex (61 Christopher Street, NYC)
"These days, I only go to shows where I've heard of the performer," I recently told a friend, who asked me to bring him to a recent act by newcomer Paul Hallasy at the Duplex. And it's true - if there's one thing this critic has learned, it's that you just can't see everybody and now there are so many people to see. However, I enjoy discovering new talent as much as the next guy. Plus, the show was directed by Linda Amiel Burns with musical direction by Bryon Sommers, and those two points alone seemed to make it worth catching.
I regret to say I'm rather sorry I attended. The direction and musical direction were solid; in fact, the direction and musical direction were perfect. However, these elements only served to heighten what was in fact a painful experience for the viewer/listener. Paul Hallasy has a voice that, coupled with a series of jerky head and shoulder movements on this all-pop set, entitled "Addicted To Love", would be far better suited to Violent Femmes-style cover bands at Don Hill's Squeezebox. Of the twelve excruciating selections, only the ballad "Baby's Got Blue Eyes" rendered this show a barely-passing grade, and even that's an overstatement. A section near the act's end with a quick change into Dusty Springfield drag was, in fact, the absolute nadir; for us Dusty Springfield fans, this section was first embarrassing, then disrespectful, then anger-inducing. It's not even that this show wasn't ready to be reviewed. It simply didn't work.
Paul Hallasy can be redeemed as a cabaret artist...with better material, better command of the stage, and some serious time to think. Apparently, the gentleman is a novelist with an ever-growing cult, and is therefore not without intelligence. This critic might well attend his next show just to see if some requisite changes have been made.
Applause! Applause! Review of Gerta Grunen's "Cole Porter: Ninety Stories High" by Andrew Martin
This review of Gerta Grunen's "Cole Porter: Ninety Stories High" at Don't Tell Mama was written by Andrew Martin and appeared in Volume I, Issue 2 (December, 1997) of Applause! Applause! published by Dr. Thomas Robert Stevens.
"Cole Porter: Ninety Stories High" - Gerta Grunen
Don't Tell Mama (343 West 46th Street, NYC)
Even with over ten years in cabaret, either as critic, performer or producer, your humble reporter had never seen a full show by perennial chanteuse Gerta Grunen. And what a pity not to have experienced her until now! On the occasion of her fifteenth anniversary in cabaret, Grunen celebrated with a Cole Porter-themed show at Don't Tell Mama, and the results were simply splendiferous!
Aided ably by Christopher Denny at the piano and direction by David Arthur, Grunen's act, "Ninety Stories High", is above all else an evening of fine showmanship and a lovely trip down a musical memory lane. Grunen is a songstress with a pleasant voice and a keen confidence, who knows how to work a number to maximum personal effect.
Though maybe slightly patter-heavy, the show uncovers not-often-heard lyrics to such Porter classics as "It's De-Lovely", and Grunen's way with the comic standard "Mrs. Lowsborough-Goodby" is, to coin a phrase, the top. The easy stand-out, however, is a brilliant rarity entitled "Farming", with additional vocals by the aforementioned Mr. Denny (OK - she didn't include my personal favorite, the pithy "Siberia", but why quibble with work of this quality?).
If you have an opportunity to catch Gerta Grunen in "Ninety Stories High", at Don't Tell Mama or elsewhere, get yourself to see it! Grunen is Golden!
"Cole Porter: Ninety Stories High" - Gerta Grunen
Don't Tell Mama (343 West 46th Street, NYC)
Even with over ten years in cabaret, either as critic, performer or producer, your humble reporter had never seen a full show by perennial chanteuse Gerta Grunen. And what a pity not to have experienced her until now! On the occasion of her fifteenth anniversary in cabaret, Grunen celebrated with a Cole Porter-themed show at Don't Tell Mama, and the results were simply splendiferous!
Aided ably by Christopher Denny at the piano and direction by David Arthur, Grunen's act, "Ninety Stories High", is above all else an evening of fine showmanship and a lovely trip down a musical memory lane. Grunen is a songstress with a pleasant voice and a keen confidence, who knows how to work a number to maximum personal effect.
Though maybe slightly patter-heavy, the show uncovers not-often-heard lyrics to such Porter classics as "It's De-Lovely", and Grunen's way with the comic standard "Mrs. Lowsborough-Goodby" is, to coin a phrase, the top. The easy stand-out, however, is a brilliant rarity entitled "Farming", with additional vocals by the aforementioned Mr. Denny (OK - she didn't include my personal favorite, the pithy "Siberia", but why quibble with work of this quality?).
If you have an opportunity to catch Gerta Grunen in "Ninety Stories High", at Don't Tell Mama or elsewhere, get yourself to see it! Grunen is Golden!
Applause! Applause! Review of "ASCAP/MAC Showcase" by Andrew Martin
This review of an "ASCAP/MAC Showcase" at The Lighthouse was written by Andrew Martin and appeared in Volume I, Issue 2 (December, 1997) of Applause! Applause! published by Dr. Thomas Robert Stevens.
ASCAP/MAC Showcase - Various Artists
The Lighthouse (111 East 59th Street, NYC)
No one can ever accuse Jamie deRoy of non-motivation. An almost unbelievable eight years have elapsed since the MAC president launched a series of afternoon showcases at Lincoln Center's Bruno Walter Auditorium, and both deRoy and top ASCAP exec Michael Kerker continue to present a cornucopia of musical manna that is sure to become the backbone of cabaret and theatre for years to come.
During the early years of the MAC Songwriter's Showcase, we mere mortals were treated to the vocal power of such artists as Vicki Lewis, Annie Hughes, Phyllis Pastore, Terry Burrell, and myriad other illustrious performers. Phillip Namanworth was constantly dazzling assembled spectators with lyrical gems, and the genius of the late Arthur Siegel was made known to those unfamiliar. Not to mention Linda Kerns' awesome first-ever turn on Brad Ross' "Who Wears These Clothes?", which will always live in the memory of those who bore witness.
A pairing with ASCAP and a random series of locations followed over the years. Highlights were to include Laura Dean at the Blue Angel with Barbara Schottenfeld's "Isn't It Strange?", Cleo King at the Ballroom doing "Lifelines" from "A...My Name Is Still Alice", Mark-Alan at Caroline's with Larry Kerchner's "What's Your Phobia?", and just about anything by Christopher Mason anywhere it was performed. Names like Francesca Blumenthal, Jason Robert Brown, David Friedman, Douglas J. Cohen, Tom Toce, Dottie Burman, and scores of others (excuse the pun) became part of the cabaret community vernacular immediately after a shot in an ASCAP/MAC Showcase. And while not every number has gone on to live in the hearts and voices of the medium, and rightfully so, the latest version of the Showcase (now held at the Lighthouse on East 59th Street) contained some very pleasant surprises in the tradition the presentation has upheld since it began.
Having caught the lovely Joan Crowe in "Prisoner's Dream" at Rose's Turn some seasons back, it was a genuine pleasure to witness her turn on Tom Brown's "My Brother Dreams In German Now", also from the show. If her future bows in the medium even scantily resemble her current work, it should be a matter of time before Joan Crowe is a name cabaret knows, and knows well. Tom Andersen on his own composition "Yard Sale" (done to even finer perfection with the gentleman's vocals than on David Campbell's oft-unappetizing CD), was unto itself a golden moment, and, as usual, Alix Korey shone, this time with Andrew Lippa's screamingly amusing "Old Fashioned Love Story".
Holiday songs seemed to be a theme here, as well. Lisa Asher was her customary divine self on a Kathy King Wouk number, "On Christmas", with Jeff Waxman at the piano. This was topped by a real eyebrow-raiser, "That Time Of Year", which may be the world's first non-sectarian holiday carol. The latter featured contributions by another of the medium's most underrated composers, the brilliant Nicholas Levin (in addition to Laurence Holzman and Felicia Needleman). And Scott Coulter's voice combined with Zina Goldrich and Marcy Heisler's "Amazing", really, really was!
But, not everything worked. The phenomenal Alison Fraser delivered the ballad "I Cry Alone", musically beautiful but often lyrically wanting. Billy VerPlanck, accompanying legend-wife Marlene VerPlanck on his self-composed "What Are We Going To Do With All This Moonlight?" was a stunning performance of a placid song that took more than just a bit from the classic "As Time Goes By" via its musical refrains. Allan Harris, a fine jazz artist, seemed out of place with his "Black Coffee Blues". And, as your humble reporter is simply not a fan of Rick Miramontez now or ever, Tish Hinojosa's "Aquella Noche" with Miramontez on lead, is best left uncommented.
However, greatest audience response came from Bryan Batt's rendering of "Inward Bound", a comically lush bit of special material concocted by Albert Evans and Ron Kaehler as the ultimate anti-paean to Cabaret Camp. Granted, Batt is a great singer and Evans and Kaehler are a great writing team. And yet, the lyrics occasionally hit so close to home on the subject of the O'Neill Cabaret Fellowship as to prove embarrassing to some members of our community.
In any case, the ASCAP/MAC Showcase will continue to be a vital voice for America's newest writers within theatre and cabaret. Jamie deRoy and Michael Kerker can always be looked to, and looked at, for bringing tomorrow's creative superpowers to the forefront.
ASCAP/MAC Showcase - Various Artists
The Lighthouse (111 East 59th Street, NYC)
No one can ever accuse Jamie deRoy of non-motivation. An almost unbelievable eight years have elapsed since the MAC president launched a series of afternoon showcases at Lincoln Center's Bruno Walter Auditorium, and both deRoy and top ASCAP exec Michael Kerker continue to present a cornucopia of musical manna that is sure to become the backbone of cabaret and theatre for years to come.
During the early years of the MAC Songwriter's Showcase, we mere mortals were treated to the vocal power of such artists as Vicki Lewis, Annie Hughes, Phyllis Pastore, Terry Burrell, and myriad other illustrious performers. Phillip Namanworth was constantly dazzling assembled spectators with lyrical gems, and the genius of the late Arthur Siegel was made known to those unfamiliar. Not to mention Linda Kerns' awesome first-ever turn on Brad Ross' "Who Wears These Clothes?", which will always live in the memory of those who bore witness.
A pairing with ASCAP and a random series of locations followed over the years. Highlights were to include Laura Dean at the Blue Angel with Barbara Schottenfeld's "Isn't It Strange?", Cleo King at the Ballroom doing "Lifelines" from "A...My Name Is Still Alice", Mark-Alan at Caroline's with Larry Kerchner's "What's Your Phobia?", and just about anything by Christopher Mason anywhere it was performed. Names like Francesca Blumenthal, Jason Robert Brown, David Friedman, Douglas J. Cohen, Tom Toce, Dottie Burman, and scores of others (excuse the pun) became part of the cabaret community vernacular immediately after a shot in an ASCAP/MAC Showcase. And while not every number has gone on to live in the hearts and voices of the medium, and rightfully so, the latest version of the Showcase (now held at the Lighthouse on East 59th Street) contained some very pleasant surprises in the tradition the presentation has upheld since it began.
Having caught the lovely Joan Crowe in "Prisoner's Dream" at Rose's Turn some seasons back, it was a genuine pleasure to witness her turn on Tom Brown's "My Brother Dreams In German Now", also from the show. If her future bows in the medium even scantily resemble her current work, it should be a matter of time before Joan Crowe is a name cabaret knows, and knows well. Tom Andersen on his own composition "Yard Sale" (done to even finer perfection with the gentleman's vocals than on David Campbell's oft-unappetizing CD), was unto itself a golden moment, and, as usual, Alix Korey shone, this time with Andrew Lippa's screamingly amusing "Old Fashioned Love Story".
Holiday songs seemed to be a theme here, as well. Lisa Asher was her customary divine self on a Kathy King Wouk number, "On Christmas", with Jeff Waxman at the piano. This was topped by a real eyebrow-raiser, "That Time Of Year", which may be the world's first non-sectarian holiday carol. The latter featured contributions by another of the medium's most underrated composers, the brilliant Nicholas Levin (in addition to Laurence Holzman and Felicia Needleman). And Scott Coulter's voice combined with Zina Goldrich and Marcy Heisler's "Amazing", really, really was!
But, not everything worked. The phenomenal Alison Fraser delivered the ballad "I Cry Alone", musically beautiful but often lyrically wanting. Billy VerPlanck, accompanying legend-wife Marlene VerPlanck on his self-composed "What Are We Going To Do With All This Moonlight?" was a stunning performance of a placid song that took more than just a bit from the classic "As Time Goes By" via its musical refrains. Allan Harris, a fine jazz artist, seemed out of place with his "Black Coffee Blues". And, as your humble reporter is simply not a fan of Rick Miramontez now or ever, Tish Hinojosa's "Aquella Noche" with Miramontez on lead, is best left uncommented.
However, greatest audience response came from Bryan Batt's rendering of "Inward Bound", a comically lush bit of special material concocted by Albert Evans and Ron Kaehler as the ultimate anti-paean to Cabaret Camp. Granted, Batt is a great singer and Evans and Kaehler are a great writing team. And yet, the lyrics occasionally hit so close to home on the subject of the O'Neill Cabaret Fellowship as to prove embarrassing to some members of our community.
In any case, the ASCAP/MAC Showcase will continue to be a vital voice for America's newest writers within theatre and cabaret. Jamie deRoy and Michael Kerker can always be looked to, and looked at, for bringing tomorrow's creative superpowers to the forefront.
Friday, December 2, 2011
Carl Person, Candidate For The Libertarian Party's Presidential Nomination, Calls For The Legalization Of All Gambling To Bolster The Economy & To Create New Jobs
Carl Person, candidate for the Libertarian Party’s Presidential Nomination, called today for the legalization of all gambling to bolster the economy and to create new jobs.
His full comments on the issue were as follows:
Legalization of gambling should be a major issue for Libertarians. The gambling industry takes in about $80 billion each year in net gambling revenues (i.e., the total amount bet minus winnings paid to gamblers). [ http://www.hoovers.com/industry/gambling/1431-1.html ] These winnings by the gambling industry would not exist in a deregulated market and amount to taxes imposed on individual gamblers residing in the U.S. This annual fleecing of $80 billion from the American public substantially reduces the effectiveness of the U.S. economy, by being handed over by our elected politicians to the favored few. In October 2011, one gaming organization was granted a license to operate the only casino in NYC, worth an estimated $20 billion or more, for an up front licensing fee of only $380 million. The casino is expected to throw off $3 million in profits per day [http://www.nytimes.com/2011/10/28/nyregion/new-yorks-first-casino-at-aqueduct-racetrack-is-set-to-open.html?pagewanted=all ]
These $80 billion in gaming industry profits are almost equal to twice the $44 billion in net profits in 2010 of the U.S. pharmaceutical industry. [http://www.ahipcoverage.com/2011/03/03/putting-health-plans-profits-in-perspective/ ]
Government-licensed gambling establishments are profitable because of the monopoly position enjoyed by most of them, through the protected location of individual establishments, through a cluster of casinos in Atlantic City, New Jersey, or through various casino clusters in Nevada. Unless licensed by a state, it is illegal to own or operate a casino, so that the operating casinos have little pressure on them to compete in price, especially when the licensing state takes a percentage of the winnings (generally 50%). The result is a tax on the gambling public, with the gambling profits being divided between the licensing government and the licensed gambling establishment.
Originally gambling was prohibited by law based on principles of religion and/or morality, but during the past 50 years the basis for prohibition has changed. Today, it is to prevent competition with the favored few who own and operate the licensed gambling establishments, to increase their profitability to casino and government through the prohibition of competition.
The sad thing about this resulting regulation of gambling is the loss each year of $80 billion in capital to create new businesses and needed jobs in the country. If this $80 billion per year is not taken from gamblers, there would be 400,000 new jobs created each year (assuming one job is created with $200,000 in non-gambling expenditures by middle-class and poor individuals).
Here are several ways in which fully legalized gambling would create businesses and jobs:
1. 300,000,000 individuals would be free to purchase and operate video games, slot machines, roulette or blackjack machines in their homes or offices, with a potential market (I estimate) of 10,000,000 slot machines per year or $10 billion in sales and another $10 billion per year to service the 10,000,000 machines
2. Restaurants would install 10-20 slot machines, set them for a payback of 101% to 105%, which would cause many customers to patronize the restaurant just to wait in line (30-60 minutes hopefully before being seated) to play the slot machines set for them to win. The price of the meal would of course reflect this high-payback slot machine setting.
3. Local clubs would be formed and install slot machines to become an attractive meeting place for older residents (with money to invest) to meet with younger residents looking for an opportunity. This type of eco-socialization in distant casinos doesn’t work because meetings are short-lived and not repeated, with no follow up generally.
By legalization of gambling, the gambling public would save 400 million days of travel and travel expense each year, with a combined value of about $20 billion (estimated at 20% of $80 billion in winnings).
By legalization of gambling we would be deregulating a significant part of the nation’s economy, and enable gambling to be a competitive tool in developing and promoting businesses and creating jobs, and deprive government and monopolists of $80 billion/year in tax revenues taken mainly from the poor and elderly.
Also, by legalizing gambling we would be eliminating the political corruption always present when an elected official or body has an opportunity to give a multi-billion dollar license to a single person or company. Gambling is clearly an activity which should not be regulated by government.
In summary, by legalization of all gambling in the U.S., there would be the effect of an $80 billion stimulus being paid to middle-class and poor individuals, instead of to banks, to result in the creation of 400,000 new jobs per year.
Note: I filed a lawsuit in 2005 to legalize all gambling in NYS. Links to a copy of my complaint and my 19-page analysis of gambling in NYS are available in my website for legalization of gambling in NYS. [http://www.lawmall.com/legalizeNYgambling/ ]
His full comments on the issue were as follows:
Legalization of gambling should be a major issue for Libertarians. The gambling industry takes in about $80 billion each year in net gambling revenues (i.e., the total amount bet minus winnings paid to gamblers). [ http://www.hoovers.com/industry/gambling/1431-1.html ] These winnings by the gambling industry would not exist in a deregulated market and amount to taxes imposed on individual gamblers residing in the U.S. This annual fleecing of $80 billion from the American public substantially reduces the effectiveness of the U.S. economy, by being handed over by our elected politicians to the favored few. In October 2011, one gaming organization was granted a license to operate the only casino in NYC, worth an estimated $20 billion or more, for an up front licensing fee of only $380 million. The casino is expected to throw off $3 million in profits per day [http://www.nytimes.com/2011/10/28/nyregion/new-yorks-first-casino-at-aqueduct-racetrack-is-set-to-open.html?pagewanted=all ]
These $80 billion in gaming industry profits are almost equal to twice the $44 billion in net profits in 2010 of the U.S. pharmaceutical industry. [http://www.ahipcoverage.com/2011/03/03/putting-health-plans-profits-in-perspective/ ]
Government-licensed gambling establishments are profitable because of the monopoly position enjoyed by most of them, through the protected location of individual establishments, through a cluster of casinos in Atlantic City, New Jersey, or through various casino clusters in Nevada. Unless licensed by a state, it is illegal to own or operate a casino, so that the operating casinos have little pressure on them to compete in price, especially when the licensing state takes a percentage of the winnings (generally 50%). The result is a tax on the gambling public, with the gambling profits being divided between the licensing government and the licensed gambling establishment.
Originally gambling was prohibited by law based on principles of religion and/or morality, but during the past 50 years the basis for prohibition has changed. Today, it is to prevent competition with the favored few who own and operate the licensed gambling establishments, to increase their profitability to casino and government through the prohibition of competition.
The sad thing about this resulting regulation of gambling is the loss each year of $80 billion in capital to create new businesses and needed jobs in the country. If this $80 billion per year is not taken from gamblers, there would be 400,000 new jobs created each year (assuming one job is created with $200,000 in non-gambling expenditures by middle-class and poor individuals).
Here are several ways in which fully legalized gambling would create businesses and jobs:
1. 300,000,000 individuals would be free to purchase and operate video games, slot machines, roulette or blackjack machines in their homes or offices, with a potential market (I estimate) of 10,000,000 slot machines per year or $10 billion in sales and another $10 billion per year to service the 10,000,000 machines
2. Restaurants would install 10-20 slot machines, set them for a payback of 101% to 105%, which would cause many customers to patronize the restaurant just to wait in line (30-60 minutes hopefully before being seated) to play the slot machines set for them to win. The price of the meal would of course reflect this high-payback slot machine setting.
3. Local clubs would be formed and install slot machines to become an attractive meeting place for older residents (with money to invest) to meet with younger residents looking for an opportunity. This type of eco-socialization in distant casinos doesn’t work because meetings are short-lived and not repeated, with no follow up generally.
By legalization of gambling, the gambling public would save 400 million days of travel and travel expense each year, with a combined value of about $20 billion (estimated at 20% of $80 billion in winnings).
By legalization of gambling we would be deregulating a significant part of the nation’s economy, and enable gambling to be a competitive tool in developing and promoting businesses and creating jobs, and deprive government and monopolists of $80 billion/year in tax revenues taken mainly from the poor and elderly.
Also, by legalizing gambling we would be eliminating the political corruption always present when an elected official or body has an opportunity to give a multi-billion dollar license to a single person or company. Gambling is clearly an activity which should not be regulated by government.
In summary, by legalization of all gambling in the U.S., there would be the effect of an $80 billion stimulus being paid to middle-class and poor individuals, instead of to banks, to result in the creation of 400,000 new jobs per year.
Note: I filed a lawsuit in 2005 to legalize all gambling in NYS. Links to a copy of my complaint and my 19-page analysis of gambling in NYS are available in my website for legalization of gambling in NYS. [http://www.lawmall.com/legalizeNYgambling/ ]
Applause! Applause! Review of Charles Busch's "Queen Amarantha" by Dr. Thomas Robert Stevens
This review of the play entitled "Queen Amarantha" was written and published by Dr. Thomas Robert Stevens and appeared in Volume I, Issue 1 (November, 1997) of Applause! Applause!
"Queen Amarantha" - A Play by Charles Busch
Workshop of the Players Art Theatre (519 West 23rd Street, NYC)
Thoroughly enjoyable!! Charles Busch plays Queen Amarantha with energy and depth. It was a delight to watch him on stage. Carl Andress, who played Roderigo; Ruth Williamson, who played Thalia; and Marcus Lovett, who played Adrian are all worthy of special note. The remaining cast members were also excellent.
Queen Amarantha Rules!!!
"Queen Amarantha" - A Play by Charles Busch
Workshop of the Players Art Theatre (519 West 23rd Street, NYC)
Thoroughly enjoyable!! Charles Busch plays Queen Amarantha with energy and depth. It was a delight to watch him on stage. Carl Andress, who played Roderigo; Ruth Williamson, who played Thalia; and Marcus Lovett, who played Adrian are all worthy of special note. The remaining cast members were also excellent.
Queen Amarantha Rules!!!
Applause! Applause! Review of Israel Horvitz's "Lebensraum" by Dr. Thomas Robert Stevens
This review of the play entitled "Lebensraum" was written and published by Dr. Thomas Robert Stevens and appeared in Volume I, Issue 1 (November, 1997) of Applause! Applause!
"Lebensraum" - A Play by Israel Horvitz
Miranda Theatre Company (259 West 30th Street, NYC)
The fact that there are few Jews left in Germany inspired Israel Horovitz to write "Lebensraum" (Living Space) about a future German Leader who invites 6 million of the world's Jews to move back to Germany. The resulting reactions of both Jews and Germans of many different minds are the basis for the plot. The able cast of Jeremy Silver, Scott Richards and Emme Shaw, playing multiple roles, makes this a very enjoyable production.
There are great insights here into what the reactions of people might be to such an offer. I thoroughly enjoyed the production and urge others to catch this play. My only criticism is that I found the play to be unrealistic in one instance and sanctioning a double standard in another. The unrealistic element was the belief that if Jews just stood up for themselves with arms in defense against an angry mob, that the mob once dispersed, would stay dispersed. I think the reality is quite the opposite. Once the angry mob sees that the targets of their anger have weapons, they will feel justified in using even greater violent force against them. The double standard element was that it appeared clearly wrong for a Jew to deny his being Jewish "if the world doesn't like Jews." However, there appeared to be no recognition by the playwright that reverse discrimination should also be discouraged. In the play, there appears to be nothing wrong with a Jewish teenager asking a non-Jewish German girlfriend to lie to his Jewish grandmother about her nationality. The Jewish boy even goes so far as to suggest that his girlfriend tell his grandmother that she is Korean.
Other than these few minor faults, I found the play most engaging and thought-provoking.
"Lebensraum" - A Play by Israel Horvitz
Miranda Theatre Company (259 West 30th Street, NYC)
The fact that there are few Jews left in Germany inspired Israel Horovitz to write "Lebensraum" (Living Space) about a future German Leader who invites 6 million of the world's Jews to move back to Germany. The resulting reactions of both Jews and Germans of many different minds are the basis for the plot. The able cast of Jeremy Silver, Scott Richards and Emme Shaw, playing multiple roles, makes this a very enjoyable production.
There are great insights here into what the reactions of people might be to such an offer. I thoroughly enjoyed the production and urge others to catch this play. My only criticism is that I found the play to be unrealistic in one instance and sanctioning a double standard in another. The unrealistic element was the belief that if Jews just stood up for themselves with arms in defense against an angry mob, that the mob once dispersed, would stay dispersed. I think the reality is quite the opposite. Once the angry mob sees that the targets of their anger have weapons, they will feel justified in using even greater violent force against them. The double standard element was that it appeared clearly wrong for a Jew to deny his being Jewish "if the world doesn't like Jews." However, there appeared to be no recognition by the playwright that reverse discrimination should also be discouraged. In the play, there appears to be nothing wrong with a Jewish teenager asking a non-Jewish German girlfriend to lie to his Jewish grandmother about her nationality. The Jewish boy even goes so far as to suggest that his girlfriend tell his grandmother that she is Korean.
Other than these few minor faults, I found the play most engaging and thought-provoking.
Applause! Applause! Review of "Jamie deRoy & Friends" by Dr. Thomas Robert Stevens
This review of the Variety Production entitled "Jamie deRoy & Friends" was written and published by Dr. Thomas Robert Stevens and appeared in Volume I, Issue 1 (November, 1997) of Applause! Applause!
"Jamie deRoy & Friends" - Variety Production
Carolines (1626 Broadway, NYC)
The benefit of a variety production is that you get to sample the talents of many individuals. Then, after you have discovered the performers you like, you can make reservations to catch them the next time they star in their own shows.
As variety productions go, "Jamie deRoy & Friends" is one of the very best. The format is that Jamie deRoy, the President of the Manhattan Association of Cabarets and Clubs, performs and MC's shows which feature recognized and new talents. Formerly at Don't Tell Mama, this particular production of "Jamie deRoy and Friends" was moved to Carolines. For the reasonable cover charge of $14 (1/2 off for MAC members) and a two drink minimum, the night featured an hour and fifty minutes of live entertainment. A feast by any standards!
My favorite performers were Heather MacRae, the daughter of Gordon & Sheila Mac Rae singing Rodgers & Hammerstein's "Surrey With the Fringe on Top"; Natalie Gamsu, in the character Hecky Baba Boom singing Dino Fekaris & Freddie Perren's "I Will Survive"; Mark Nadler performing Irving Berlin's "I Love A Piano" as it has never been performed before, after which he received enthusiastic applause and announced "Mama. I'm pretty, mama!!"; Michele LaFong, a very talented ventriloquist with a unique act; and Jamie deRoy herself, who always sings a few numbers in her shows.
There were a few problems with this production of "Jamie deRoy & Friends" which were completely out of her control. The first problem was that the production started late. The scheduled starting time was 9:30 p.m.. However, the audience was not seated until 9:45 p.m. because the previous show "A Funny Thing Happened On The Way To El Barrio" ran late. The start was also delayed by Carolines policy of not letting patrons of the earlier show out of the room without a stub proving that they paid their bill, a policy not to my knowledge followed by most other popular cabaret rooms. Tempers flared on the line getting out of the previous show resulting in a vicious fist-fight between a patron and the gate-keeper. Curse words and threats followed. After this pre-show entertainment ended, we were seated. However, the delay interrupted the normal tech rehearsal and adjustments had to be made during the first minutes of the show.
From that point on, it was all smooth sailing. I had the pleasure of sitting next to Sylvia Miles and the room was full of celebrities. The only person in the audience who seemed to get out of hand was the comedian Freddy Roman, who spoke out to interact with Jamie deRoy as if he were or wanted to be part of the show.
The evening was a complete delight. Many in the audience learned for the first time that Sardi's has an actor's menu for all those with an equity card. Because of the late hour and the fact that some of the audience members began to leave, the song "Talk Show," to be performed by Jamie deRoy, was cut from the schedule. The only tragic event of the evening was that comedian Greg Fitzsimmons was asked NOT to go on in light of the late hour. This was not only unfair to him since he gave up another gig to participate in the production, but was also unfair to the audience who was looking forward to hearing him. This should not happen in the future.
Whenever you see "Jamie deRoy & Friends" listed or advertised, immediately make reservations for yourself and your friends. You will never be disappointed!!
"Jamie deRoy & Friends" - Variety Production
Carolines (1626 Broadway, NYC)
The benefit of a variety production is that you get to sample the talents of many individuals. Then, after you have discovered the performers you like, you can make reservations to catch them the next time they star in their own shows.
As variety productions go, "Jamie deRoy & Friends" is one of the very best. The format is that Jamie deRoy, the President of the Manhattan Association of Cabarets and Clubs, performs and MC's shows which feature recognized and new talents. Formerly at Don't Tell Mama, this particular production of "Jamie deRoy and Friends" was moved to Carolines. For the reasonable cover charge of $14 (1/2 off for MAC members) and a two drink minimum, the night featured an hour and fifty minutes of live entertainment. A feast by any standards!
My favorite performers were Heather MacRae, the daughter of Gordon & Sheila Mac Rae singing Rodgers & Hammerstein's "Surrey With the Fringe on Top"; Natalie Gamsu, in the character Hecky Baba Boom singing Dino Fekaris & Freddie Perren's "I Will Survive"; Mark Nadler performing Irving Berlin's "I Love A Piano" as it has never been performed before, after which he received enthusiastic applause and announced "Mama. I'm pretty, mama!!"; Michele LaFong, a very talented ventriloquist with a unique act; and Jamie deRoy herself, who always sings a few numbers in her shows.
There were a few problems with this production of "Jamie deRoy & Friends" which were completely out of her control. The first problem was that the production started late. The scheduled starting time was 9:30 p.m.. However, the audience was not seated until 9:45 p.m. because the previous show "A Funny Thing Happened On The Way To El Barrio" ran late. The start was also delayed by Carolines policy of not letting patrons of the earlier show out of the room without a stub proving that they paid their bill, a policy not to my knowledge followed by most other popular cabaret rooms. Tempers flared on the line getting out of the previous show resulting in a vicious fist-fight between a patron and the gate-keeper. Curse words and threats followed. After this pre-show entertainment ended, we were seated. However, the delay interrupted the normal tech rehearsal and adjustments had to be made during the first minutes of the show.
From that point on, it was all smooth sailing. I had the pleasure of sitting next to Sylvia Miles and the room was full of celebrities. The only person in the audience who seemed to get out of hand was the comedian Freddy Roman, who spoke out to interact with Jamie deRoy as if he were or wanted to be part of the show.
The evening was a complete delight. Many in the audience learned for the first time that Sardi's has an actor's menu for all those with an equity card. Because of the late hour and the fact that some of the audience members began to leave, the song "Talk Show," to be performed by Jamie deRoy, was cut from the schedule. The only tragic event of the evening was that comedian Greg Fitzsimmons was asked NOT to go on in light of the late hour. This was not only unfair to him since he gave up another gig to participate in the production, but was also unfair to the audience who was looking forward to hearing him. This should not happen in the future.
Whenever you see "Jamie deRoy & Friends" listed or advertised, immediately make reservations for yourself and your friends. You will never be disappointed!!
Applause! Applause! Review of "The Best Sex Of The XX Century Sale" by Dr. Thomas Robert Stevens
This review of the Musical Comedy Revue entitled "The Best Sex Of The XX Century Sale" was written and published by Dr. Thomas Robert Stevens and appeared in Volume I, Issue 1 (November, 1997) of Applause! Applause!
"The Best Sex of the XX Century Sale" - Musical Comedy Revue
The Duplex (61 Christopher Street, NYC)
This musical revue is a mock auction of items that have some connection to societal attitudes toward sex in the 20th Century, highlighted by songs and skits illustrating the various eras. Moments of this revue are hilariously funny and well written. The majority of the actors are very talented individuals who I would not mind seeing again in another venue. Unfortunately, there is a whole other side to this revue that is not funny, gross, unprofessional and poorly written.
There are some special moments in this revue. So many in fact that I feel with the proper re-writing, this revue could become extraordinarily popular. It has great potential. Some of the musical numbers are full song parodies; some are only a few lines long. By far, my favorite numbers dealt with sex in the 50's and 60's. These were full production numbers that were wonderfully staged and perfectly directed. Other numbers or snippets of numbers I liked were "I Am Woman/Get Back"; "Those Were The Days"; "Sex & Violence"; "J. Edgar Hoover"; "Masturbational Blues"; "It's My Phone Bill And I'll Call If I Want To"; "A Bi-Sexual Built for Two" and "That's Why The Lady's Still A Man." The funniest line in the revue takes place when Michael Vaccaro, in his naturally long blond hair and beautiful black formal gown, appears on stage in drag and announces in his deepest voice, after a perfectly timed pause, "Hello, I'm Kathleen Turner." This was such a funny line that it actually stopped the show, while the audience continued to laugh out loud. Another funny line was delivered by Calypso Man who, when speaking of Paula Jones and President Clinton, says to music "Paula Jones says his (penis) is of a special sort. But I say the evidence will not stand up in Court."
There are some fine actors in this cast. Leading the pack are Michael Vaccaro and Marcus Weiss. Michael Vaccaro is a very talented actor who has a great stage presence. His consistently excellent performance blew me away. I look forward to seeing more of his work. Marcus Weiss also has a strong voice and is an excellent actor. Weiss has a great build and was given the opportunity to show it off. Many others in the cast are superior actors and will be seen again.
I could end my review here. However, if I did, I would not be fair to my readers who expect to get a full and impartial review. Therefore, I will now comment on those aspects of the revue which I found to be unfunny, gross, unprofessional and poorly written. An example of a gross comment would be the line "would someone please clean the cum off this floor; How am I supposed to work here!"
Groin kicks were used in a few instances to generate some cheap laughs. They are no longer funny to this male reviewer. Their use shows a lack of imagination. It's almost turning into a men's right's issue. It leaves you wanting to kick the female attacker back where it would hurt her. I doubt the audience would find that very funny!!
There were many missed cues and at least three scenes where the props failed to arrive on time. Some scenes had to be cut from the revue due to time factors. However, from my vantage point, it appeared that the actors hadn't rehearsed the cuts beforehand. There were some song parodies and skits that were just not funny and poorly written. It would not be difficult for the writers and director to ascertain which those sections were. All they would have to do is listen to their audiences. However, this is not possible since the writers and the director are acting in the production.
I also did not feel that many of the impressions performed were up to professional standards. Finally, there is the issue of personal hygiene. The night I saw the production, one man, who often appears with bare feet, had failed to clip his toenails in quite some time. In addition, one of the lead male actors, who otherwise had a good body, might have considered a back wax in light of the fact that his role called for him to play a sex symbol. The final negative comment I will make is that the actors themselves seemed very unhappy with this production. Two actors I knew apologized to me afterwards that I had to see this production. Another was willing to go on record with a whole list of complaints, none of which I shall repeat here.
"The Best Sex of the XX Century Sale" can be saved. It can be fine tuned, re-written and more tightly directed. This show has the potential to become a crowd pleaser.
"The Best Sex of the XX Century Sale" - Musical Comedy Revue
The Duplex (61 Christopher Street, NYC)
This musical revue is a mock auction of items that have some connection to societal attitudes toward sex in the 20th Century, highlighted by songs and skits illustrating the various eras. Moments of this revue are hilariously funny and well written. The majority of the actors are very talented individuals who I would not mind seeing again in another venue. Unfortunately, there is a whole other side to this revue that is not funny, gross, unprofessional and poorly written.
There are some special moments in this revue. So many in fact that I feel with the proper re-writing, this revue could become extraordinarily popular. It has great potential. Some of the musical numbers are full song parodies; some are only a few lines long. By far, my favorite numbers dealt with sex in the 50's and 60's. These were full production numbers that were wonderfully staged and perfectly directed. Other numbers or snippets of numbers I liked were "I Am Woman/Get Back"; "Those Were The Days"; "Sex & Violence"; "J. Edgar Hoover"; "Masturbational Blues"; "It's My Phone Bill And I'll Call If I Want To"; "A Bi-Sexual Built for Two" and "That's Why The Lady's Still A Man." The funniest line in the revue takes place when Michael Vaccaro, in his naturally long blond hair and beautiful black formal gown, appears on stage in drag and announces in his deepest voice, after a perfectly timed pause, "Hello, I'm Kathleen Turner." This was such a funny line that it actually stopped the show, while the audience continued to laugh out loud. Another funny line was delivered by Calypso Man who, when speaking of Paula Jones and President Clinton, says to music "Paula Jones says his (penis) is of a special sort. But I say the evidence will not stand up in Court."
There are some fine actors in this cast. Leading the pack are Michael Vaccaro and Marcus Weiss. Michael Vaccaro is a very talented actor who has a great stage presence. His consistently excellent performance blew me away. I look forward to seeing more of his work. Marcus Weiss also has a strong voice and is an excellent actor. Weiss has a great build and was given the opportunity to show it off. Many others in the cast are superior actors and will be seen again.
I could end my review here. However, if I did, I would not be fair to my readers who expect to get a full and impartial review. Therefore, I will now comment on those aspects of the revue which I found to be unfunny, gross, unprofessional and poorly written. An example of a gross comment would be the line "would someone please clean the cum off this floor; How am I supposed to work here!"
Groin kicks were used in a few instances to generate some cheap laughs. They are no longer funny to this male reviewer. Their use shows a lack of imagination. It's almost turning into a men's right's issue. It leaves you wanting to kick the female attacker back where it would hurt her. I doubt the audience would find that very funny!!
There were many missed cues and at least three scenes where the props failed to arrive on time. Some scenes had to be cut from the revue due to time factors. However, from my vantage point, it appeared that the actors hadn't rehearsed the cuts beforehand. There were some song parodies and skits that were just not funny and poorly written. It would not be difficult for the writers and director to ascertain which those sections were. All they would have to do is listen to their audiences. However, this is not possible since the writers and the director are acting in the production.
I also did not feel that many of the impressions performed were up to professional standards. Finally, there is the issue of personal hygiene. The night I saw the production, one man, who often appears with bare feet, had failed to clip his toenails in quite some time. In addition, one of the lead male actors, who otherwise had a good body, might have considered a back wax in light of the fact that his role called for him to play a sex symbol. The final negative comment I will make is that the actors themselves seemed very unhappy with this production. Two actors I knew apologized to me afterwards that I had to see this production. Another was willing to go on record with a whole list of complaints, none of which I shall repeat here.
"The Best Sex of the XX Century Sale" can be saved. It can be fine tuned, re-written and more tightly directed. This show has the potential to become a crowd pleaser.
Applause! Applause! Review of Edward Blaise Bohan's "My First Time With Barbie" by Dr. Thomas Robert Stevens
This review of the play entitled "My First Time With Barbie" was written and published by Dr. Thomas Robert Stevens and appeared in Volume I, Issue 1 (November, 1997) of Applause! Applause!
"My First Time With Barbie" - One-Act Play
The Duplex (61 Christopher Street, NYC)
"My First Time With Barbie" debuted at the Expanded Arts Theatre and for that performance, the show won a 1997 Leonardo daVinci Award for Best Play; Edward Blaise Bohan won a Leonardo daVinci Award for Best Playwright; and D. Matt Crabtree won a Leonardo daVinci Award for Best Actor in a Play. After these awards were announced, "My First Time With Barbie" moved to the Duplex for Thursday night performances through October. D. Matt Crabtree, playing Roger, and Sharon Cacciabaudo, as Mrs. Young (Roger's mother) stayed with the production. The role of George was played by Matt Peterson, who in my opinion did as good a job as the actor who originated the role. In fact, D. Matt Crabtree and Matt Peterson had such a phenomenal rapport on stage that it was easy to believe that the characters they played were best friends with a high level of sexual energy and attraction sparking between them. Sharon Cacciabaudo played Mrs. Young as a campy, over-exaggerated, horny middle-aged mom with her own designs on her son's friend George. Given the flirting which was clearly evident, it wasn't difficult to believe that given the opportunity, she too would try to get into George's pants, a goal clearly shared by her son Roger.
Edward Blaise Bohan is a brilliant playwright. He has the ability to tackle difficult subjects with ease. "My First Time With Barbie" is an exploration of adolescent sexuality in all its complexities. Two adolescent boys, one more experienced than the other, address issues of sexual orientation, fantasies, pornography, masturbation, incest, pedophilia, societal pressures, homosexuality, and sexual experimentation all in the course of this well-written and well acted one act play.
David Noh directed both the original production and the one at the Duplex. He is an extremely proficient director who was able to make the best use of the space available at both locations and to get the best performance out of his actors.
D. Matt Crabtree is a rising star in the theatre and film world. He has the good looks and the talent to go all the way. All agents, casting directors and others looking for an actor with superior abilities and a great personality to boot, should contact him by catching one of his performances or by calling this review sheet.
You won't be sorry!!!
"My First Time With Barbie" - One-Act Play
The Duplex (61 Christopher Street, NYC)
"My First Time With Barbie" debuted at the Expanded Arts Theatre and for that performance, the show won a 1997 Leonardo daVinci Award for Best Play; Edward Blaise Bohan won a Leonardo daVinci Award for Best Playwright; and D. Matt Crabtree won a Leonardo daVinci Award for Best Actor in a Play. After these awards were announced, "My First Time With Barbie" moved to the Duplex for Thursday night performances through October. D. Matt Crabtree, playing Roger, and Sharon Cacciabaudo, as Mrs. Young (Roger's mother) stayed with the production. The role of George was played by Matt Peterson, who in my opinion did as good a job as the actor who originated the role. In fact, D. Matt Crabtree and Matt Peterson had such a phenomenal rapport on stage that it was easy to believe that the characters they played were best friends with a high level of sexual energy and attraction sparking between them. Sharon Cacciabaudo played Mrs. Young as a campy, over-exaggerated, horny middle-aged mom with her own designs on her son's friend George. Given the flirting which was clearly evident, it wasn't difficult to believe that given the opportunity, she too would try to get into George's pants, a goal clearly shared by her son Roger.
Edward Blaise Bohan is a brilliant playwright. He has the ability to tackle difficult subjects with ease. "My First Time With Barbie" is an exploration of adolescent sexuality in all its complexities. Two adolescent boys, one more experienced than the other, address issues of sexual orientation, fantasies, pornography, masturbation, incest, pedophilia, societal pressures, homosexuality, and sexual experimentation all in the course of this well-written and well acted one act play.
David Noh directed both the original production and the one at the Duplex. He is an extremely proficient director who was able to make the best use of the space available at both locations and to get the best performance out of his actors.
D. Matt Crabtree is a rising star in the theatre and film world. He has the good looks and the talent to go all the way. All agents, casting directors and others looking for an actor with superior abilities and a great personality to boot, should contact him by catching one of his performances or by calling this review sheet.
You won't be sorry!!!
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