Thursday, April 23, 2015

Larissa's Chocolate Chip Cookie Recipe

I learned today that a picture really is worth 1,000 words.  All I did was post a photo of some cookies I baked for a friend and - *BAM* - dozens of requests for a recipe.  They do look amazing, right?  I promise they taste even better!

  • 1 c. brown sugar
  • 1/2 c. granulated sugar
  • 2 sticks room temperature butter (aka softened, not melted)
  • 1 1/2 tsp. vanilla extract
  • 1 tsp. almond extract
  • 3/4 tsp. baking soda
  • 3/4 tsp. baking powder
  • 1 tsp. salt
  • 2 eggs
  • 1 1/2 cups bread flour
  • 1 cup flour (or just do 2 1/4 - 2 1/2 regular flour)
  • 1/3 bag Hershey's Special Dark Chocolate Chips or Trader Joe's Chocolate Chips
  • 1/3 bag Trader Joe's Chocolate Chunks
  • 1/3 bag Nestle Mini Semi-Sweet Chocolate Chips (the only time I ever use Nestle, as I don't prefer their chocolate)

Preheat oven to 350 degrees
  • Combine sugars and butter until integrated/fluffy (too much mixing will melt the butter = bad)
  • Mix in extracts, soda, powder, salt, and eggs (again, do not mix too much)
  • Mix in bread flour until just integrated
  • Mix in flour until just integrated (the dough may seem as if it is not going to stick together, but it will once you knead)
  • Knead in chocolate chips with freshly washed hands
  • Refrigerate dough for at least* an hour.  I prefer to let it set overnight, which is why I love this recipe- you can whip it together right before bed in ten minutes, then bake the next day (or three days later!).
  • Roll dough into balls - I usually do about a 50-cent piece size just slightly smaller than a golf ball, but it works for larger sizes too
*I promise you if you don't let these set/chill, they will turn out very flat and crispy, which is not at all what you want.

  • Bake for 10 minutes at 350 degrees.  Some ovens may take 11.  You want them to only have the lightest of brown on the higher points of the cookies.
  • Let cookies develop on sheet for two or three minutes.
  • Use spatula to remove and place on whatever surface you use for cooling - I use a sheet of wax paper or tin foil.  Nothing fancy.
  • The cookies may seem to be gooey or more likely to fall apart, but they will solidify upon cooling.

Thursday, March 5, 2015

Noises Off: Midvale Arts Council

Noises Off, by Michael Frayn, is an absolutely wacky show-within-a-show where nothing happens, yet everything happens.

In act one, the characters are learning their lines and blocking for an actual production.  Act two leads us backstage to see the antics of the performers as they make their entrances and exits.  The closing act shows us the absolute deterioration of the performances on stage due to the crazy mishaps off stage. 

There are shows that make you think and shows that make you laugh.  I love the opportunity to sit back with a smile plastered across my face as my brain goes on vacation.  All of the performances were perfectly flawed to fit the absurd antics of the characters designed to be larger-than-life.   

The true genius of Noises Off is found in the set design.  Wow.  In between each act, the crew and cast take apart the set and reconstruct it to show the backstage/on stage dynamic.  You can see what a feat Midvale has produced in this 15-second hyperlapse video.  

Midvale Arts has also been doing an entertaining campaign with their Instagram account, which I suggest you follow here.  Each day, a different cast or crew member takes over the instagram to show you what a day in their life is like, as well as their character's view from on stage.  Talk about getting the inside scoop! 

I don't have anything eloquent to say except that this show is exactly what you need to cure the winter blues.  I found myself with my hands on my face, watching with disbelief at the "I can't believe this is happening" moments in the third act.  Each move is something straight out of America's Funniest Home Videos.  You will end the night breathless from laughter and feeling like you got a great workout simply from watching the actors and actresses command the zaniness on stage.  

You have three chances left to see this show: 7:30pm March 5, 6, and 7 at Midvale Performing Arts Center (695 W. Center Street, Midvale).
Ticket prices are $7 for general admission, $5 for seniors and children, family passes are available for $25 (one household.) Group discounts are available by contacting Producer, Stephanie Johnson.

Cast List:
Director: Aaron Sparks
Producer: Stephanie Johnson
Dotty/Clackett: Carrie Simper
Lloyd: Chris Kucera
Gary/Roger: Scott Millet
Brooke/Vicki: McKenzie Stanworth
Poppy: Megan Smyth
Frederick/Phillip: Madman Madriaga
Belinda/Flavia: Nichole Keddington
Tim: Mark Hanson
Selsdon: Dain Percifield

Tuesday, March 3, 2015

The Last Five Years: Utah Repertory Theater Company

Every story is told from the point of view of the person sharing the story.  Utah Repertory Theater Company shares with us a musical masterpiece of composer Jason Robert Brown in The Last Five Years.  Audiences experience a love story, told alternately through the eyes of Jamie and Cathy, Jamie recalling from the beginning of the relationship, Cathy from the end, and meeting in the middle.   

Utah Rep's website sums up our characters best: "Jamie Wellerstein (Rhett Richins) is a young, talented up-and-coming Jewish novelist who falls in love with Cathy Hiatt (Erin Royall Carlson), a struggling actress and shiksa goddess."   Audiences spend the next hour and a half with the talents of Richins and Carlson alone on stage, as directed by John Sweeney.

Rhett Richins' nuances as Jamie Wellerstein were natural, convincing, and often hilarious.  He conveyed every nuance of an emotion through one simple look, one pronunciation.  I loved the way he wove accents in and out of his singing as he talked about his Jewish mother and an old clock maker named Schmuel.  Actors are often directed that every movement has a purpose, which Richins personifies as he tells a story in each look, movement, and musical note. 

Erin Royall Carlson as Cathy Hiatt evoked a strong stoicism and warped sense of humor that being a theater professional requires.  We see such weight on her shoulders as she begins the show at the end of her story and relationship, with each scene seemingly lifting off another emotional brick to unveil the light, energetic, radiant Cathy that Jamie fell in love with. 

Live orchestrations grant these two performers the ability to interpret the lyrics and musicality with emotion and depth, helping transfer those feelings to the audience.  Music director, Anne Puzey, created a remarkable atmosphere with her ensemble of talented musicians.  Composer Jason Robert Brown is known for intricate work, and these musicians created a feeling of intricacy that could have shared the story even if the songs had no lyrics.   

The set, lighting, and sound were all very simply designed as we focused on a three-point turning set piece in the middle of the stage, with side pieces and use of shadows to direct or focus to a certain character or scene.  I agree with these decisions strongly, as this story is about two people and their relationship, stripped bare of the world around them.  

Watching the decisions of Jamie and Cathy, my heart wrenched with the agony of my own choices and where they were leading my life and the life of my relationships.  Cathy and Jamie made these seemingly insignificant choices that became more and more substantial until their relationship was ruined.  We can choose our path, but we cannot choose our consequences.  I became keenly aware of how important each moment is.  When Jamie asks Cathy if she will share her life with him for the next ten minutes, then ten more minutes, I thought about how many times the present ten minutes would not leave my friend or husband to ask me for another ten minutes. Jamie gifts Cathy a watch at one point, saying, "You get to be happy...I give you unlimited time."  Watching The Last Five Years stress the importance of time and its correlation with happiness drives home the invaluable importance of every moment.  It's in the moments that life is made or broken.

As a passionate theater-goer, yet not someone who researches beyond plot-points to the intricate nuances of a show before I attend, I can confidently say that The Last Five Years can be confusing even if you know there are two timelines that meet in the middle.  Perhaps a talkback session would have explained the answer to our questions, but my companion and I both had a difficult time understanding why there would be a Jamie scene where he is singing to Cathy and she is present, then the next Jamie scene where he is singing to Cathy, she is not present.  We didn't notice a correlation between his temperament or the stage of their relationship and her presence or lack thereof.  The one correlation we found was between her presence/his presence and costume changes.  For such a minimalistic production, the elaborate costume changes seemed a bit much.  Yes, it did help tell the story and create clear "this is a different scene" moments, but I would have liked to see both characters on stage at all times (which I know is more exhausting than a marathon for performers), with simple costume changes, like the addition of a jacket, a change of shoes, a scarf, etc.  This would have fit the overall minimalistic feel for me.  I also wondered if perhaps the age in the lyrics could have been changed to more accurately reflect the age of the performers. 

Some of you may question whether to see the live theater production or the movie that is hitting wide-release in theaters.  My suggestion is you must see both.  There is beautiful story-telling in the movie, however, live theater has an electricity in the air that makes the experience undeniably more real.  The raw vibrancy of a person standing in front of you shedding real tears and real sweat while singing their heart out to you, to tell you a story, cannot be recreated on film.

If you have a heart, it will break watching Utah Rep's performance of The Last Five Years - it will break with joy, mourning, inspiration, and appreciation of the beautiful work of art in front of you.  You will see scenes from your own relationships played out before you, giving you the cherished feelings of each loving moment while your gut wrenches with pangs from loss.  Should you choose to use your time at The Last Five Years, that time will be incredibly well spent.  As Jamie sings, "Take a breath.  Take a step.  Take a chance." 

The Last Five Years runs at various times, with varying admission prices, until March 15 at Sugar Space Studio Theater in Sugarhouse, then March 20-22 at the Ziegfeld Theatre in Ogden.  Please refer to the website for more information.  Please also note that the movie version of this production is rated PG-13 for language and adult themes, which echoes the stage production. 

Image from

*Disclaimer*  I've heard it said, and fully agree, "Reviewers don't write about theater, they write about themselves at the theater." 

Empress Theatre: Into the Woods

I recently reviewed Into the Woods at the Empress Theatre for Front Row Reviewers Utah.

We all know the stories of Cinderella, Jack and the Beanstalk, Little Red Riding Hood, and Rapunzel - complete with their evil nemeses.  But what happens when you flip these fairy tales on their heads?  Into the Woods happens, that's what.  Lucky for you, Nancy Jensen is directing a lovely production for audiences to see this inside-out tale at The Empress Theatre.

If you'd like to read more, please do so here. 

Narrator: Nathan Unck
Cinderella: Valerie Packer
Jack: Skye Davis
Jack's Mother: Jamie Crane
Baker: Brett Johnson
Baker's Wife: Sarah Johnson
Cinderella's Stepmother: Kimberly Wicker
Florinda: Sunny Watts
Lucinda: Melissa Head
Cinderella's Father: Perry Whitehair
Little Red: Alexis Shaw
Witch: Diane Nebeker
Cinderella's Mother/Giant: Christin Saling
Mysterious Man: Steve Hedman
Wolf/Rapunzel's Prince: Geoffrey Gregory
Cinderella's Prince: Chris Kennedy

Photo Courtesy of Empress Theatre

Saturday, February 21, 2015

Adult Braces: My Third Adjustment

Due to the promise I made after my second adjustment regarding not purchasing milkshakes, I was pretty darned excited for adjustment number 3.  I mean, c'mon - MILKSHAKE!

This time has actually been okay, folks.  I expected to not be able to eat much for a couple of days, so I prepped for more than my fair share of soft foods with not a lot of pain.  I won't be munching tortilla chips anytime soon, but it's okay.

I received two new wires (top and bottom), as well as some pretty blue rubberbands on the bottom.  My next visit will bring me a "claw" (I asked, they told me it meant bending wires to close the spaces that were created to turn/straighten certain teeth) and all the other prep work for adjustment number five.  What is happening on adjustment five?  *gulp*  Springs.  This option is better than head gear, but I also fear the side effects.

I listened to myself on the show in podcast form that I help with - The Cultural Hall - and heard this weird "sh" every time I said an "s."  It was very weird listening to my intonation and enunciation be so different than recordings in the past.  C'est la vie, it'll only last another year and a half-ish.

Until adjustment number 4, chew lightly.

Thursday, January 29, 2015

Past Year's Resolutions: 2014

What did I accomplish this year?

Every year I ask myself this question and make my retrospective resolutions for the year.  Hindsight is 20/20.  And I think it is much more uplifting to reflect and think, "Wow- I did that!" than to think, "I didn't meet two of my ten goals.  I'm a failure."  Know what I'm saying?

In no particular order:
  1. Stay married!  Apparently this is a pretty big deal.
  2. Visit NYC for 2 weeks, seeing 16 shows (My favorite was Beautiful, thanks for asking)
  3. Be on David Letterman.  For real.  Here's the story and video.
  4. Buy a new new car.  2014 Honda Civic EX.  Probably never going to happen again in my life. 
  5. Choreograph Hairspray for Taylorsville Arts
  6. Choreograph Broadway My Way for Taylorsville Arts
  7. Choreograph for Murray elementary schools
  8. Perform as Vi Moore in Sandy Arts Guild's Footloose - I guess I play adults now?
  9. Perform in a dream show Marvelous Wonderettes for Sandy Arts Guild as Betty Jean Reynolds - Wait, I'm 18 again?  
  10. Audition for my first show at Hale Centre Theatre and get called back!  
  11. See Frankie Valli perform live at Niagra Falls - that's one off my bucket list
  12. Increase my husband's business, Life of the Party Entertainment, another 20%, meaning his business has doubled since I began working with him 
  13. Maintain my six-times weekly dates with Gym
  14. Be in a movie - Don Verdean.  I was just an extra, but we are seeing the final product at Sundance Film Festival Saturday
  15. Win "best couple that never actually hooked up" in the costume contest at Pepper Nix's Halloween Spooktacular for our "A League of Their Own" costumes, we've been trying to win for three years
  16. Become a redhead (for a show, but I kept it).
  17. Get braces, a wish in the making for 17 years
  18. Visit Rochester, Niagra Falls, Ohio, NYC, Moab, Las Vegas (twice), Phoenix, Shakespeare Festival, Goblin Valley
  19. Throw the greatest "A Christmas Story" party (creatively speaking) yet
  20. Read the Fablehaven and Under the Never Sky series
  21. Finish watching Twin Peaks, How I Met Your Mother, The Carrie Diaries (don't judge), Sherlock, and Breaking Bad
  22. Continue helping beautiful brides plan and implement their weddings
  23. Continue helping with The Cultural Hall Show Podcast

Resolutions of Year's Past

Thursday, January 22, 2015

Adult Braces: My Second Adjustment

Why-oh-why did I become filled with naivete?  Oh, that's right, because I had no pain after my first adjustment, I assumed I'd be fine for all others.  Wrong.

On January 14th, I actually ran from my car to the office, wanting to be on time and actually excited.  I don't have much control over how quickly or correctly my teeth choose to move, but ever-the-perfectionist, I couldn't wait to be praised for how good I was taking care of my teeth and how lovely they were behaving.

I received my praise, new wires on the tops and bottoms, a superchain (they chain rubberbands together across the bottom to pull them closer together once they are straight enough) on the bottom, and new bands on the top.

I treated myself to a salad that night with my friend, Shayla, mentioning that my mouth was a little sore so my consumption would be slow.  I haven't had anything crunchy since then.  I even had to make a handshake agreement with my husband that I would not purchase anymore milkshakes until my next adjustment.  Yep, that happened.

I want pizza.

Into the Woods: The Empress Theatre

We all know the stories of Cinderella, Jack and the Beanstalk, Little Red Riding Hood, and Rapunzel - complete with their evil nemeses.  But what happens when you flip these fairy tales on their heads?  Into the Woods happens, that's what.  Lucky for you, Nancy Jensen is directing a lovely production for audiences to see this inside-out tale at The Empress Theatre.

The opening number introduces us to all of the main characters (except the charming princes, who bound in just in time for some great comic relief) and introduces us their plights from wanting a child to wanting to escape to wanting money.  Jensen created a wonderful vision in this 3/4 of a theater-in-the-square.  

What I loved most about the show was the actors' dedication to their characters and roles.  I did not see a single person break character, even in light of other mistakes.  This is community theater, which means you enter with a certain reservation of expectations.  In this show, in spite of some actors being strong or weak in certain areas, everyone was quite good overall!  Trust me, I say that with a huge sigh of relief.  

I particularly enjoyed Cinderella's lovely soprano as she enchantingly sang to her origami birds, the youthful vigor of our actual teenager Little Red, and the over-the-top prancing of the charming princes.  

Our Narrator, Nathan Unck, truly helped us feel as if he were telling us a story that he was more than amused with.  He was excited to share the successes and plunders of each scene, wrapping us in to what part of the story he created for us next.  I've seen Unck perform before and this was my favorite role for him.  

Cinderella's Mother is a role that often gets left in the shadows, but Christin Saling performed with love and compassion while dressed in a beautiful gown.  I only wish that half the audience weren't missing out on her stunning face because of a tree branch blocking her.  

Skye Davis is a mature adult, yet used this adorable Pinocchio-esque character voice to successfully portray the youthful, adolescent Jack.  At first I thought it may grow old, but by the end of the show he had me chuckling every time he opened his mouth.  

As far as improvements, The Empress needs a new lighting and sound system.  They work so hard with what they have, however, I've not seen a show in recent memory, other than Addams Family, where the dark lighting and hard-to-adjust spotlights work (in reading my show notes, I mentioned the troublesome lighting four different times).  Often times actors were out of the spots and difficult to see.  The sound is spotty, so they accommodate through only mic'ing those who "need" it or are main roles.  The problem with this is that our ears have to readjust every time we switch from one to the other, or preventing us from hearing certain singing over the minus tracks.  I do prefer having to adjust my ears over the screeching and popping that occurs with some of the mics.  I truly feel the Empress could have much more community support with these technical issues resolved.  The historic theater and the talent deserve as much.     

The two biggest laughs of the evening came from our charming princes and Little Red's Granny.  During the reprise of "Agony," sung by Rapunzel's Prince, Geoffrey Greogry) and Cinderella's Prince (Christopher Kennedy).  Those two hammed it up, the lyrics hammed it up, and we ate it up entirely!  Thank you, men, for making us laugh.  Speaking of...another big big laugh of our came from reading the bio of Rapunzel's Prince/The Wolf, where he mentions he is single, ladies...again apparently.   Granny (Chalese Craig) was performed in a way I have never yet scene this typical "throw away character" played.  She was fierce - you just have to see her for yourself.   

Into the Woods is at the peak of popularity due to the recent cinematic release.  If you and your little ones enjoy the film, I highly recommend venturing to the empress to take in the live production.  They won't disappoint you and I promise you will leave with a smile on your face.  

Tickets can be purchased online or at the box office now through January 31 for $10.  For more information, visit The Empress Theatre's website here.  

Entire Cast List:   Narrator: Nathan Unck
Cinderella: Valerie Packer
Jack: Skye Davis
Jack's Mother: Jamie Crane
Baker: Brett Johnson
Baker's Wife: Sarah Johnson
Cinderella's Stepmother: Kimberly Wicker
Florinda: Sunny Watts
Lucinda: Melissa Head
Cinderella's Father: Perry Whitehair
Little Red: Alexis Shaw
Granny: Chalese Craig
Witch: Diane Nebeker
Cinderella's Mother/Giant: Christin Saling
Mysterious Man: Steve Hedman
Wolf/Rapunzel's Prince: Geoffrey Gregory
Cinderella's Prince: Chris Kennedy

Sunday, January 18, 2015

Bare: Utah Repertory Theater Company

In your life, in what situations would you use the term "bare?"  Of what meaning do you think?

The first thought that comes to mind is "naked."  A step further leads you to think of feeling exposed/vulnerable, then perhaps to a burden you bare, or even to bare a testimony.

Utah Repertory Theater Company has taken a huge stride in the equality movement through bringing Bare: A Pop Opera (musical), to Salt Lake City.  In fact, Utah Rep is giving 15% of ticket sales proceeds to OUTreach Resource Centers, "a non-profit collection of youth resource centers dedicated to transforming communities and saving lives through programs designed to promote positive outcomes for youth experiencing homelessness, family rejection or victimization."

Bare, straight from Utah Rep's website, "is a coming-of-age story of a group of high school seniors at a co-ed Catholic boarding school, with each struggling to define themselves in the face of their relationships, sexuality, and religion. As they search to come to terms with who they are — and who the world thinks they should be — they seek answers from their church, their friends, and ultimately, from within themselves. Bare examines the consequences of baring your soul — or hiding it — from those who matter most."

Instead of sharing with you the specifics of the plot, I want to share with you the feeling of the show.  Go back to my earlier question about "bare" situations in your life.  How did you feel: Declaring your first love?  Graduating from high school?  Moving away from home?  Falling in love?  Losing someone you love?  Keeping a secret that could change someone's life?  Finding or losing your love for God? Realizing someone you trusted was wrong?  You were vulnerable, exposed, and bare.  We have all been through at least one of these situations, which means we all know exactly what the feelings and struggles of the characters in this story.  

Utah Rep and director Johnny Hebda, pulled off quite a feat over the past few months, gathering a cast combined of experienced actors and actors the actual age of the characters.  I worried at first that this material is not appropriate for teenagers.  Not even close to appropriate.  But watching the story, I realized that these are exactly the trials real teenagers and young adults are experiencing. 

My first thought upon entering the new Sugar Space facility was in regards to how drastically improved the venue is since my last visit.  Several months ago, I was rubbed the wrong way about the bare-bones of the set structure, lack of temperature control, and location.  Audience members will be relieved to know that all of these issues have been resolved and many additions have been made.  

You will notice 5 LCD screens that will delight you throughout the show with text messages, face book posts, instagram feed, and photos.  Mostly used during scene transitions, this feature keeps the audience absorbed in the world of Bare while keeping us all in stitches with laughter.  Surrounding you on the walls are 24 posters of the cast members' characters,leading your eyes to the stage with rows of lockers, dual staircases, and a church backdrop, immediately warping you back in time to grade school days.  Utah Rep's lighting and sound systems never missed a beat (although the sound tech did miss a few cues in the rapid one-off solos of the 24 cast members).   

When the cast enters, we are thrown back to the days of Catholic school uniforms and mass.  I quickly picked up on the flattering and meaningful costume details of Nancy Susan Cannon.  The senior class members are dressed differently than the underclassman, with great detail on the crests of their sweaters, matching skirts, personalized shoes, and hairstyles.  I see the same simultaneous uniqueness and uniformity I saw in my Catholic-school friends growing up.  One of the costuming/prop decisions that made me smile was for Peter (John Patrick McKenna), the lead character struggling with his sexuality, to have a purple backpack.  

In the opening number, there is an eerie vocal line sung simultaneously with a choral piece by Jonathan Scott McBride as the priest- this monotonous, deep Latin curse.  I'm sure it wasn't actually a curse, but it sets a tone immediately that while things may seem perfect, there is something dark lurking beneath.  Writing of music brings me to one of the production qualities I always love about Utah Rep is the use of a live band.  Our music director for this show is the brilliant Anne Puzey.  The physical placement of the band in proximity to the audience was perfect to be able to see them as part of the show, yet not overpower the vocalists who are precisely on par in their singing and their character portrayal as actors.  

In the first ten minutes of the show, we see Claire (Shalee Schmidt), the mother of Peter, balance humor and heartbreak to convey a complex feeling of distress, confusion, love and acceptance regarding the truths she knows about her son, but will not yet admit.  Continuing with the "truths we know" theme, the characters all seem to be sure of God's existence, yet constantly ask, "Is God listening?"  We see each struggle more with asking why God isn't responding than asking if God exists.  This strikes me as a theme of underlying, constant hope that there is more out there in something greater than ourselves.  

Enter Jason (Brock Dalgleish) in the locker room kissing Peter.  Jason is a muscular man's man, always a step ahead of letting himself feel in anticipation of what others might think.  A quote from the priest in the second half sums up Jason's actions in the first, "Don't question too much and you'll get along fine."  The problem is, no one can accept ignorance for long.  We all start questioning eventually.  For Jason, however, there are no answers and he is lead to a world full of fear of the unknown.  If not for Dalgleish's portrayal of the carefree, then conflicted Jason, I don't know if I would have understood the importance the show needs us to see of never accepting a world at face-value.  

Back to Peter.  He looks the conventional fresh-faced innocent type, yet has no problem accepting his life is not conventional.  He recognizes love and knows love is more important than fear of a "what if."  McKenna makes a heroic return to the Utah stage with his powerful tenor and silent turned siren character.  

Peter is not the only one in love with Jason - the ever popular, promiscuous Ivy (Emilie Starr) is too.  What I love about Starr is how comfortable she makes audiences feel when she is on stage.  She has a calming presence in that you are never worried about her making a mistake.  I don't worry about most actors, truthfully, but she truly puts me at ease.  If you watch her throat when she sings, you don't even see strain - a true gift of talent and training. 

To add to this weird love triangle, making it more of a square(?), we have Matt (Thomas Kulkus) who is in love with Ivy.  Kulkus is utterly convincing as the doe-eyed, puppy-dog faced (in a good way!) longing teenager.  Matt intrigues me because of his devotion to a girl who won't return the favor and his devotion to the secrets of Jason and Peter.  He sees he is losing Ivy to Jason , yet holds on to something that could destroy Jason's reputation.  When provoked the tables may turn, yet Kulkus portrays this character in such a way that you do not see any true intention of malice.  You see a hurt young man who seems to understand how important it is that we be authentic to our choices.  

Jason has yet another love - his sister Nadia (Katie Evans).  She is the only character who seems the full 360 degrees of what he is experiencing.  Evans plays off of Dalgleish in the most adoring, unconditionally loving, tormenting relationship that only a brother and sister could share.  The pair does not shy away from physical affection, be that a hug or a punch.  Nadia's burden to bare is her insecurity about being fat.  Her song about the burdens and dreams that will never be because of her size are thoughts that crippled me as an adolescent, obese girl.  I watched Evans' Nadia wanting to hug her and tell her that she can take control of her life and things do get better, yet even if Nadia were a real person, I know that telling a teenager those things means nothing until they experience it themselves.  

In a show so concerned with love, we see only one truly unconditionally loving character in quite the unexpected place.  Sister Chantelle (Yoah Guerrero) delivers two of the most poignant lines themes in the show: 1. God don't make no trash 2. He is just as God wants him to be.  Guerrero can SANG!  Her voice never quit, but there were a few parts where the tricky vocal runs caused some breathlessness and strained facial expressions, but as soon as she got a breath in - Bam!  Big note.  Not only can Sister Chantelle deliver love and vocal majesty, she is hilariously the true comic relief of the show which may or may not (go see it!) include a guest appearance as the Virgin Mary.

Other stand-out performances shared with us were that Carolyn Crow as Kyra, Jennifer McKay as Diane, and the entire "ensemble."  Crow has a light of a presence on stage that grows brighter and brighter.  Her face is always illuminated in expression and feeling.  McKay is just adorable in an absolutely beautiful and talented way.  She pulls your eyes towards her almost every time she is on stage with her dedicated, natural character decisions.  The ensemble kept the energy high through their choices to not let their characters drop, having purpose in their movements, and singing to fill the room whether an angelic tone or rock.  I also want to point out the professionalism of a very young cast - I heard zero back-stage noise, all scene changes were prompt, and everyone appeared to make their cues.  

As with all things wonderful, there were a few aspects that could have used improvements.  The score is vocally quite a challenge and at parts, mostly the lighter-sounding runs, the pitch fell wayward.   Not often, mind you, but it happened several times from several characters.  There was also a rap solo that, although the lyric and vocal energy was high, just didn't have enough energy by way of facial expression and bold movement.  Look as confident as you sound because the scene is great.  To all on stage, I also share that you should not be fidgeting with your hair and costumes unless your character is.  Audiences are distracted by watching those constantly swiping hair out of faces (so much of this happened) or pulling skirts/pants down/up.  If you don't act uncomfortable, we won't be uncomfortable.  My final fix is for the facility itself.  The ladies restroom stall doors can be "locked" but opened with a slight push.  Which I unfortunately found out when someone thought I might be a little lonely in my stall at intermission.  

Bare is, most of all, about love, conveying the power of a lyric most are familiar with from the musical Les Miserables, "To love another person is to see the face of God."  Bare teaches us to love, to hope, to know that God creates each of us with purpose.  

Please see Bare.*  Please remember what you felt at your most vulnerable, that rawness, that fear, that wonderment.  Look at each person you pass today knowing they have felt those things too and love them a little more out of understanding if nothing else.  You can find details about the show, which runs through January 31, here.  

*Content Advisory*  - This show would have a hard "R" rating if it were a movie.  Those sensitive to non-family friendly entertainment or easily offended should not see Bare.  However, if you have a close friend or family member who has struggled with accepting their sexuality, I think this show might help you understand a little more.    

Tuesday, December 9, 2014

Adult Braces: Rubber Band Replacement

Getting your rubber bands replaced at adjustments or because your eating adventures dyed the clear bands orange *cough* Buffalo Wings in Buffalo, NY and Skyline Coney Dogs in Ohio *cough* feels as if someone is trying to rip your teeth out of your face.

I suppose it isn't really so painful as it is disarming.  There is a lot of pressure that truly does feel as if they are trying to pull your teeth, but I think it is the fear of the unknown that makes it even more weird than the physical aspect.  You don't know what's going on - you can't see anything, you've never been through this before.  All you know is...*ow.*  You make a few weird faces and in sixty seconds it is all over.  The pain isn't even bad enough to need ibuprofen and only lasts for the moment that tooth is worked on.

Then you leave the office with beautiful, clear rubberbands and teeth on their way to perfection.  I'll take that deal any day.