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total-todd-review · 2 years

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This what I got from ChatGPT when I asked it to. “Compare and Contrast “The Sound of Music” and “Cabaret”:

“The Sound of Music” is a musical with music by Richard Rodgers, lyrics by Oscar Hammerstein II, and a book by Howard Lindsay and Russel Crouse. It is based on the memoir of Maria von Trapp, The Story of the Trapp Family Singers. The story follows Maria, a young woman who becomes a governess to the seven children of a widowed Austrian naval captain named Georg von Trapp. As she teaches the children to sing, Maria and Georg fall in love and get married. The musical features a mix of romantic, comic, and dramatic elements, and is known for its memorable songs, including "My Favorite Things," "Do-Re-Mi," and “Edelweiss."

"Cabaret" is a musical with music by John Kander, lyrics by Fred Ebb, and a book by Joe Masteroff. It is based on the play I Am a Camera by John Van Druten, which was in turn based on the novel Goodbye to Berlin by Christopher Isherwood. The story takes place in Berlin in the 1930s, during the rise of the Nazi Party. It centers around the relationship between an English writer named Cliff Bradshaw and a German singer named Sally Bowles, who performs at the Kit Kat Klub, a seedy cabaret in Berlin. The musical explores themes of love, sexuality, and the political climate of the time, and is known for its dark, edgy tone and its memorable songs, including "Willkommen," "Money," and "Maybe This Time."

In terms of comparison, "The Sound of Music" and "Cabaret" are quite different in terms of their themes, setting, and tone. "The Sound of Music" is a more traditional, uplifting musical, while "Cabaret" is darker and more experimental. Both musicals feature memorable songs, but the music in "Cabaret" tends to be more edgy and modern, while the music in "The Sound of Music" is more traditional and catchy. Overall, "The Sound of Music" and "Cabaret" are both classic musicals that have stood the test of time, but they offer very different experiences to audiences.

Ya think??

“The Sound of Music” strikes me as an anti-“Cabaret”, and not just because the major love interest, and true love itself, in “Sound” seems destined, and in “Cabaret”, doomed. The specter of Nazism is an important part of both, but is not mentioned in this review in regards to “The Sound of Music”, even though it might even be a bigger plot-driver. The Nazis scare us, as they are supposed to, enough for us to realize that we should do the right thing.

So, it’s singing off the stage and over the Alps we go…

In both “Sound” and “Cabaret”, there is the strong indication of the coming cataclysm that we will call World War II. But, unlike in “Sound”, there is no indication in “Cabaret” that the coming struggle of “Good” versus “Evil” will be won, or that the “Good” will be vindicated by their actions, never mind that the “Evil” will be judged by theirs.

This is embodied for me in one of the more terrifying moments in cinema when the “Rolfe” of “Cabaret”, the teenage, Hitler Youth-addled, “Aryan”, Nazi freak gets up in the outdoor cafe to sing “Tomorrow Belongs To Me”.

We see what’s coming, and we know there’s no “Farewell”, “Auf Wiedersehen”, or “Goodnight” ahead…

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theclaravoyant · 5 years

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the luckiest man in the world

AN ~ hi all! in case you haven’t got round to it yet, here is my entry for Open Fic Night 2019! enjoy x

Relationships: David x Patrick, David & Patrick & Stevie Rated: T Set between Cabaret and the after party

Read on AO3 (1700wd)

the luckiest man in the world

When the lights go out, David claps so hard for so long that his hands move past stinging to aching to numb and back again. He claps and claps, and whistles when the company bows, and he’s not used to feeling this full-hearted excitement – this pride – after watching someone put themselves out there like that. (Let alone someone associated with him, someone he’s close to, someone he loves). But here he is.

And when Patrick eventually emerges from backstage with a change of clothes and an admittedly rushed attempt to clean off his make-up, the feeling doesn’t fade. If anything, it becomes even more intense; so much so that David’s chest almost hurts as Patrick lets loose a string of excited post-show babble. His brief greeting kiss leaves a little smear of lipstick and face paint on David’s cheek, but David doesn’t notice, caught up instead in trying to follow the highs and lows of the night’s performance as recounted by Patrick and the dolled-down Kit Kat Klub dancers at an uncharacteristically breakneck speed.

“- I think that was my favourite part, what was yours?”

Patrick pauses at last; hesitation flicking across his features as he remembers that this isn’t really David’s thing. But by this point, there are tears in the corners of David’s eyes, and as the rest of the cast begins to dissipate into the crowd, David pulls Patrick in for another, gentler and more lingering greeting. Patrick smiles into the kiss, but before he can take the opportunity to smart-mouth David about it (“- and don’t say the parts where I was on stage, because I was on stage the whole time -“), David speaks.

“You really like this, don’t you?” he asks, and he can’t help but sound a little incredulous. “The whole, getting up in front of people, telling other people’s stories or whatever… thing. Like, genuinely.”

“Yeah,” Patrick replies, still a little breathless from the show, and because he hadn’t realised quite how much he had missed it. “Yeah, I do.”

David squeezes Patrick’s hand in encouragement, and tries not to think too hard about how grateful he is that Patrick is able to so thoroughly embrace what makes him happy, and has brought that vulnerability and joy into his life too – and dare he add, with the golden rings on this very hand, had promised to keep it there forever.

“Congratulations, honey,” David croons, and bites back a smile, because at first he had started using that pet-name ironically and so help him, he’s actually starting to like it. “I’m proud of you.”

The two of them decide to sneak in one more kiss, before Moira or Jocelyn or someone can come and whisk one or the other of them away, but at the last second, Patrick notices Stevie slip out from behind the backstage curtain. She looks a little uncomfortable, overwhelmed, and while that’s not unusual for her in a crowd like this, something makes him swoop away from David to collect her before any of their adoring public can put her any more on the spot than she already feels.

“Speaking of proud,” Patrick cheers, “you got it, Stevie! That scene – it was incredible! What tipped you?”

Stevie picks at the corners of the long-sleeved plaid she’s all too happy to be wrapped back up in.

“I had a chat with Mrs Rose.”

David cringes. “Oh, God. I’m sorry.”

“No,” she assures him, “it was- kind of good, actually.”

David presses his lips together and his hand crosses over his heart. It’s only for a moment, but enough for Stevie to notice, and it tells her that he’s experienced the strange balance his mother keeps as well. The glint of the rings on his fingers as they cross briefly through the light also reminds her that she had promised herself to yell at Patrick earlier, and now seems as good a time as any, so she slaps him on the arm.

“Oi!” he yelps. “What was that for?!”

“You didn’t tell me you were getting married!” she exclaims, by way of explanation, and then jabs a finger at David. “I had to find out from your boyfriend this morning and drive to Elmsdale on opening night!”

“It’s not like we eloped!” Patrick returns. “It was just an engagement –“

“Just an engagement-“ Stevie objects, but then David cuts her off by pointing out –

“His fiancé. You found out from his fiancé.”

That brings the blush back to both Patrick and Stevie’s cheeks. They smile at each other, and then at David, who takes another moment to fawn over his rings.

“I did, didn’t I?” Stevie acknowledges, and damn it, her cheeks are starting to hurt from smiling. She tries to school her expression, and for the most part fails, but she raises an eyebrow nonetheless.

“So, who’s a girl gotta bribe to get a best man request around here, then?”

They both open their mouths at the same time, so Stevie frowns and adds – “You know what, I take it back. We all know David’s gonna be a bridezilla so Patrick, bribe accepted, I’m in.”

They each touch their own noses and point at each other, grinning, and David doesn’t even have time to accuse them of unbalancing the social dynamic with in-jokes from his mother’s improv exercises, because he’s already too busy with an eye-twitch and a rant -

“Uh, stereotyping much?!” he blurts. “Just because I might pronounce words correctly and-“ painfully aware of the way his hands are flying, David leans on the word – “gesticulate more than Patrick, does not mean I’m going to be a ‘bridezilla.’”

“Yeah, Stevie,” Patrick adds, keeping his expression frustratingly innocent in David’s defence, despite his sarcasm. “Have you met David? He’s totally cool and chill and can absolutely handle stress and unexpected change with grace and dignity.”

Glaring daggers, David smiles at the co-conspirators opposite him. “Okay. Well. I hope the two of you are very happy together.”

“I’m sorry, Mr Holding-Back-Tears,” Patrick says, and doesn’t actually sound sorry at all. “Speaking of which, don’t these people have somewhere to be?”

“Shit.”

David dives for the nearest chair and climbs up onto it, and to the crowd’s delight, announces that champers and nibbles is on at ‘the Rose suites.’

(“Where’s that?” Roland asks, and Jocelyn elbows him.)

People obligingly filter out, and David tries not to glare too hard at the ridiculous number of them who are gossiping about his and Patrick’s engagement already. So help him, he decides, he’s going to get his proper announcement, even if there’s only one person left in this place that hasn’t heard it. It’s already hard enough not to run to the nearest rooftop and yell it out – in fact, he probably would have done that already if it weren’t for all the stairs.

He climbs down from the chair, and starts running through lists in his mind of drinks and nibbles and where it all is and how long it will take to finish setting up. He’s behind. So much for being a good host. Damn that surprisingly engaging performance. And damn his fiance’s poorly-timed romantic gestures.

David’s eyes narrow as he sets his sights on Stevie and Patrick once more, in between his more pertinent, host-lier thoughts.

“We’re not done,” he warns. He’s not in the mood to be sassed by these two troublemakers right now – like Patrick said, he has somewhere to be. But before he can bustle past on a mission like the busy-yet-egregious picture of popularity he now is, Patrick reaches out and takes his hand.

David takes a deep breath, and lets his sense of urgency fade. He moves as easily as water when Patrick pulls him in, pouting gently with his baby-blues shining in the stage-lights. Further delays to champagne and cheez-its be damned, David thinks; as always, Patrick is right. He’s going to treat himself to enjoying this. After all, isn’t this the whole reason he’s been so worked up about the announcement in the first place? Yes, of course it may be partly because he’s something of an artist (and perhaps also a little something of a control freak) with these things – but more than anything, it’s because he’s about to marry this man. This man – this incredible man – wants to marry him. And he can certifiably say that his best friend is going to be there to witness it. And sure, yeah, his family or whatever, with whom he now has a more wholesome relationship than he has had in a long time, possibly ever. And he can blame the show and Stevie’s song and bridezilla all he likes – which is another thing he has to admit he’s totally kidding himself about – but in this moment, David Rose feels like the luckiest man on earth.

Patrick kisses his cheek again, right at the corner of his lips, which despite both valiant effort and lifelong habit, surrender to another blossoming smile.

“I love you, husband-zilla,” Patrick vows.

“Love you, too,” David grumbles, and he wants to roll his eyes, but he’s blushing too much for it to have the intended effect.

“Aw,” Stevie croons, and for a moment, she thinks about following it up with something heartfelt and sincere. But her stomach is growling, and she was promised wine and cheese, so she clears her throat. “Come on, lovebirds. You can be adorable later – let’s get you to this party before all the crab cakes are gone.”

“Nobody ever eats those things,” David protests.

“But,” Patrick adds, “maybe we should make an appearance before Mrs Rose finds out her son has kidnapped the stars of the show.”

Right on cue, David’s phone starts ringing.

Patrick pulls his keys out of his pocket, and hoists his bag onto his shoulder. Eyeing him, Stevie does the same.

“Hiiiiiii,” David greets, hoping the longer he makes it, the more manageable it will be. But his mother’s voice is no less of a potent combination of proud-hurt-scolding when she interrupts with a signature –

“DA-vid!”

Her voice shakes the tiny tinny speaker, and David winces as he holds it away for a moment and mouths – “Run.”

Patrick and Stevie don’t need to be told twice.

#david x patrick #schitt's creek #schitt's creek fic #david rose x patrick brewer #david rose & stevie budd #david & stevie #clara's fic tag

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introvertguide · 6 years

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Cabaret (1972); AFI #63

Our most recent movie from the AFI list was our first musical from the list, Cabaret (1972) as directed by Bob Fosse. My mom and I have been discussing this film since we watched The Godfather as both movies came out the same year and went head to head during the awards season. Cabaret won 8 Oscars to only 3 for The Godfather, including the tightly contested Best Director for Bob Fosse and Best Supporting Actor for Joel Grey. Both movies are rather dark and gritty in their own way, which is what was popular in the early 70s. So let us break down the tragic story of a cabaret called the Kit Kat Klub, set in 1930s Germany during the rise of the Nazi party, and see what movie audiences loved so much about this film.

SPOILER ALERT!!!! I actually am spoiling less than my previous article, but nevertheless...

The film starts with a welcome song that shows our main players coming together to the Kit Kat Klub (I have put a “C” on the word club in previous articles so the KKK reference would not be as obvious); Brian Rogers (Michael York) is an academic who is working on his doctorate and visiting Germany, Sally Bowles (Liza Minnelli) is a cabaret girl that dreams of being a Hollywood actress, and the Master of Ceremonies (Joel Grey) is a guide that shows the changing climate of German politics through musical numbers in the club.

The MC explains that all troubles are left outside of the cabaret and there is only fun, music, and beauty inside. Warped glass is all around the inside of the cabaret to show the warped reality that is presented in the club. But this is exactly what the patrons are looking for in the rising fear that is the Nazi party, which is taking over Germany.

Brian moves into a boarding house with Sally and they become friends who hang out at the Kit Kat Klub, Sally singing and Brian presumably looking for light work to earn money. There are some initially ambiguous feelings of attraction between the two, but they eventually start up a physical relationship even though Sally has a reputation for sleeping with men in exchange for auditions and connections. Sally likes the steadiness of Brian and Brian likes the crazy and impetuous nature of Sally.

In comes a very rich Baron named Max (Helmut Griem) to seduce the affections of both Brian and Sally with money. They both fall for it and they both end up having sex with Max, unbeknownst to the other. Around this time, the only song that is outside of the club, entitled Tomorrow Belongs to Me, shows that the Nazi party is taking over and the next decade will belong to Nazi Germany.

There is a bit of a side story (not in the Broadway production) of one of Brian’s students who falls in love with a rich Jewish girl. It turns out that the student is actually also Jewish and hiding for safety. The student confesses he is Jewish and he and the girl are married. End of the side story. Not really the strongest side story, but it pushes the dangers of being Jewish in this new era of Germany to the forefront.

Max leaves Sally and Brian without much of a word and it is revealed that Sally is pregnant and does not know who the father is. Brian decides that he will be the father and Sally seems happy with the choice to keep the child. Brian starts to show less interest and talks about returning to school and Sally decides she will have an abortion without telling Brian. He is upset that she did this without really talking to him and he makes the choice to leave and return to England to continue earning his doctorate. Sally sees him off briefly at the train because she has an audition. She returns and barely makes it through her performance of “Cabaret” without breaking into tears. The MC says goodbye with credits over silence.

There are a lot of topics in the film that would normally have been taboo for the time. I was born and raised in California and earned a couple of psych degrees in San Francisco (including Human Sexuality), so these topics are what I would consider light dinner conversation. However, as far as 1972 American popular culture, this film ran the gambit of hot button issues. The right for women to decide if they can legally abort during the first term of pregnancy was actively being contested in American courts under Roe v Wade. Government upheaval as far as President Nixon and Watergate, involvement in Vietnam, and the Tuskegee airman study (feel absolutely free to look up any and all of these things for a taste of American government deceiving the public) dominated the papers. Bisexuality was not even really considered a sexuality type to the general public so on-screen recognition was a big step for the LGBT community. Supremely progressive stances all piled into a single movie was a brave move which paid off in awards and recognition.

A note about Joel Grey and the part of the MC. He won the best supporting actor award, and deservedly so, over 3 actors from The Godfather. I think he had an almost unfair advantage over everyone else in the category. There was not a lot of screen time for any of the actors in The Godfather and the main player Al Pacino didn’t show up to the awards out of protest for not being in the Best Actor category. The representation from The Godfather camp was a total mess. The group from Cabaret, however, showed up in full regalia and gleefully stole most of the show. Grey had already earned a Best Actor Tony award for his portrayal of the MC, so he had years of practice to perfect his part in front of live audiences. Getting up and doing the same songs and part that he had already perfected with a director like Fosse seems like a foregone conclusion as far as awards. Advantage or no, he was definitely the best supporting actor that year.

On a personal note, I think that one issue that I had with the movie was the character of Sally Bowles. I am strongly introverted in my nature and every little thing that the character did made me angry. She constantly was trying to show off and gain attention. She was loud and obnoxious whether or not she new what she was doing. She made poor impetuous decisions without asking others or giving any thought or consideration first. And she did not really care about others, she was selfish and didn’t care beyond current superficial pleasures. She tried to make up for being ignorant or confused by being a loud spectacle. She is the embodiment of everything that I don’t like about extreme extroverts. And yet I was rooting for her in the end, and for that I give a nod to Liza Minelli and her superior acting skills. Well done, Liza.

I always end up with my recommendation and whether this belongs on the AFI top 100. This was is initially a little bit more difficult in the second aspect when looking back at the previous movies we have reviewed on the list. As far as if I would recommend somebody watch it, of course. It covers a lot of topical issues of the time metaphorically by viewing issues historically, and it will challenge a viewer not to be uncomfortable. Good. I like a movie that challenges me and I hope that my followers can feel that too. It is a musical tragedy and it is not always fun, but this movie has brought up the best talking points between me and my parents, who were alive and college age when this came out. Great movies give you something to talk about.

As far as deserving to be on the AFI, the answer is yes but for different reasons than prior movies. Not as many people seem to know Liza and Cabaret outside of California and New York. Of that group, not a lot have actually seen the film nor are they aware that it is presented like a tragedy. I think it was very overshadowed by the ever popular The Godfather and the controversial topics have made it less part of Americana. However, seeing how Fosse revolutionized the way that musicals were presented on film in a more realistic way changed my mind. Also, looking at pictures to lead for the week in Cabaret articles reminded me that the Liza profile with the top hat, giant eyelashes, and mutton chop looking curl where recognizable to my housemates who had never heard of Cabaret...that made me realize. This movie represents a change from hiding taboo topics to taking them head on using iconic characters like Sally Bowles and the Master of Ceremonies, and for that it should be remembered and celebrated. This film is completely deserving of its place and I invite anyone who is brave enough to watch. And with that I say auf wiedersehen, a bientot,...

#cabaret #sally bowles #joel grey #liza minnelli #michael york #best supporting actor #musical #AFI movies #lgbt #iconic #tragedy #drama #bob fosse #germany #master of ceremonies #abortion #Academy Awards #introvert

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lady-divine-writes · 8 years

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Klaine one-shot - “Come to the Cabaret!” (Rated NC17)

Blaine has big plans for his and Kurt's first weekend alone in the loft, plans that turn out to be a little bit racier than Kurt ever dreamed his sweet, dapper boyfriend would make. Kurt does his best to help pull them off, but they hit one little snafu ... (2138 words)

Takes place Blaine's senior year of high school while Kurt's living in New York. Written for @sunshineoptimismandangels, inspired by her one-shot Santa Baby, which you should all go and read (after you read mine xD)

Read on AO3.

“Did you get it? Did you get it? Did you get it? Did you get it?”

“Hold on, Blaine!” Kurt chuckles, switching his messenger bag strap and his phone to his left shoulder in order to get his keys out of his right pants pocket. “I just got home! I’m not even inside yet!”

“Was there anything outside the door?” Blaine asks.

“No, but there wasn’t anything in the mailbox, either, so Rachel might have brought the mail in before she went to work. I told her after our last call that you would be sending me something so she knew to look out for it.”

“Well, tell me if you see a box anywhere when you get inside.”

“A box?” Kurt slides the loft door open and takes a quick look around. “You didn’t say anything about a box. How big a box are we talking about?”

“Not too big,” Blaine promises. “About the size of small moving box maybe?”

“I don’t see …” Kurt’s search stops in the kitchen. “Wait a minute ... yup, here it is, on the kitchen table.” Kurt looks over the box, plain and brown, with nothing printed on it that would give Kurt a clue as to what might be inside. “Please tell me this one’s not full of puppets like the last one.”

“Uh … no.” Background voices on Blaine’s end of the call become louder. Kurt distinctly hears Sam calling Blaine’s name, followed by Tina. “It’s just that … this is going to be our first weekend alone in the loft without Rachel and Santana, and I want to make the most of it,” Blaine says in a sudden rush. “I’ve gotta go. Math. I’ll see you tomorrow night. I love you.”

“I love you, too.” Kurt hears the sound of Sam trying to wrestle Blaine’s phone away, barking an order to turn over his phone in the name of the law a la Sean Connery, then the phone beeps off.

Kurt sets his phone down on the table. He examines the box briefly, then tears into the top, too excited to find out what’s inside to perform a more thorough examination. At the very top, Kurt sees a glossy red card printed with the picture of an iconic chair tipping sideways on the right hand side, and a champagne bottle popping and spraying gold confetti on the left. In black script in the center, the card reads, “Life is a cabaret, old chum! So add some spice to your life with our customized selection of exotic goodies and sensual delights! Come taste the wine! Come hear the band! Come blow that horn!” (with odd, bolded emphasis on the final three words).

“My, my, my,” Kurt mutters, his mind filling with thoughts of black pepper infused dark chocolates, rum-spiked ganache, maybe even a bottle of sparkling white wine. Oh, Mr. Anderson, Kurt muses, slipping the card underneath his phone to be scrapbooked later. What do you have in mind? The theme makes sense. Cabaret is definitely something Blaine would choose. It’s one of Blaine’s all-time favorite musicals. He’s wanted the opportunity to play The Emcee for as long as Kurt has known him. Plus, he told Kurt that he’s been dropping hints at home in the hopes that his mom will get him tickets to see it for his birthday when it comes back to Broadway in September.

Kurt starts rooting through the box. The inside is filled to overflowing with black and red crinkled paper packing strips - a ton of them. Almost enough to assume that whoever packed its contents doesn’t want just anyone to be able to tell what’s in here all that easily.

Kurt picks out an item from the box and discovers he may not be wrong.

The first thing he pulls out is a pair of padded leather handcuffs. Kurt scrunches his nose at them. Must be a gag gift, he thinks, and sets them aside. The next item he pulls out is some sort of halter top made entirely of chains. He can’t tell if it’s meant to be masculine or feminine. It looks unisex. It reminds him of the bondage wear he used to accessorize with during his sophomore year of high school.

He sets that alongside the cuffs.

Kurt sifts through the rest of the contents, picking items out as he comes across them, his eyes growing wider with each one – chocolate flavored lube (he gives it a quick taste – it’s really good); an Aneros prostate massager; a pair of silky, black, boy cut briefs; Ben Wa balls; anal beads; a Do Not Disturb sign with a drawing on it that’s anything but subtle - wondering how in the world his charming, dapper little Blaine came up with this? When did he go from scheduling make-out sessions and singing Katy Perry pop songs to this?

Kurt fishes out the last item in the box - a blue, squishy, gel-filled dildo. A small sticker adhered to the outside says Refrigerate for best results.

Kurt suddenly feels like he should start softly singing “Sunrise, Sunset”.

“Oh my,” Kurt whispers under his breath, cheeks starting to glow. “This is going to be one hell of a weekend.”

***

The following evening …

It’s eight-thirty.

Kurt’s been checking the time on his phone obsessively for the past hour-and-a-half. Blaine texted when his plane landed at seven, and owing to time, traffic, and distance, he should be there any second.

Kurt can’t wait. He went all out for Blaine’s Cabaret themed weekend, completely re-decorating his corner of the loft to give it a seedy nightclub feel … but with class. He made a huge Kit Kat Klub sign out of cardboard, covered it in an obscene amount of silver glitter, and hung it over the head of his bed. He borrowed a miniature disco ball from Elliott and dangled it from the ceiling. He almost broke his neck getting it up there, but he was committed to the decor. He placed a sheet of silver lamé over his black, pinstripe comforter. He put a red bulb in his bedside lamp, and covered the rest of the lamps in sheer red, silver, and gold fabric. He switched out his white privacy curtain for one made of tinsel. He laid a trail of holographic confetti and red rose petals leading from the front door to his room. The finished product is a little messy, but it works. He displayed some of the more playful items – the leather cuffs, the Ben Wa balls, and the chocolate lube – on a separate skull print scarf at the end of the bed. He wanted to contrast the decadence of youth against the dismal political atmosphere of the time period. (If Blaine doesn’t catch the reference, Kurt will fill him in later.) And to set the mood, he has the soundtrack from the musical queued up on his iPod. He was short on time and space (he didn’t want to decorate the whole loft on the off-chance the girls had to come back from their weekend plans early), but he thinks he did an expert job transforming his simple, shabby chic bedroom into a 1930’s cabaret-style boudoir.

When Kurt finally gets a text from Blaine saying that he’s downstairs paying his cab driver, Kurt puts his plan into action. He presses play on his iPod, then he unlocks the loft door and races for his room, preparing to pose seductively for Blaine’s entrance.

Kurt hears Blaine wheel his suitcase down the hall. Footsteps stop at the door. Then a knock. When Kurt doesn’t answer (he doesn’t want to yell across the loft and ruin his voice), Blaine slides open the loft door and peeks his head in.

“Kurt?” Kurt hears Blaine take a step inside, and his heart begins to race. “Kurt? Where are you?”

“I’m in here, silly,” Kurt calls out, affecting a British accent. “All alone, sitting pretty.”

Kurt positions himself on the bed, lying seductively on his side, gazing with half-lidded, come hither eyes in the direction of the door. He hears Blaine slide the door shut and lock it, then a tired chuckle as he follows Kurt’s trail to his room.

“Kurt? What are you …?”

“Willkommen! Bienvenue! Welcome!” Kurt sings, his heart pounding to the beat of the music as Blaine walks, dumbfounded, through the rain of tinsel. “Well, what do you think? Isn’t this perfectly marvelous?”

Kurt had hoped that Blaine would pick up on his method of using song lyrics from the musical to move the conversation along and say it couldn’t please me more, but Blaine seems speechless, staring at Kurt as if he’s never seen anything like his fiancé before.

Kurt had taken it upon himself to add a few pieces to the outfit to give it flair – a yellow feathered barrette, fishnet thigh-highs, and a pair of black heels (all featured in NYADA’s summer performance of The Birdcage), which Kurt liberated from the costume shop for the weekend. He wanted to pull off a convincing Sally Bowles, and for that, he needed props. He thinks he did a spectacular job, if he does say so himself.

Blaine, however, looks shocked, and not in that, “I can’t believe you pulled it off! This is better than I dreamed!” sort of way.

“Oh! I’m so sorry!” Kurt says, coming up with his own possible explanation for Blaine’s stupor. “Was I not supposed to open the box? Was it supposed to be a surprise?”

“The box?” Blaine asks, as if he’s never even heard the word before. “Oh. No. I mean, yes. Yes, you were supposed to open it. There were things in there that needed to be refrigerated.”

Kurt bites his lower lip in triumph. Score!

“Okay,” Kurt says. “So … why do you look so confused?”

“Because this …” Blaine makes a vague gesture with his hands. “W-was all this in the box?”

“Yeah,” Kurt says. “Well, not all of it. I added to it. But the outfit, the handcuffs, the lube and … some other things … were.” Kurt’s sentence sputters out at the end as he begins to realize something’s wrong. He has no clue what; just something. “Why do you ask?”

“Because this …” Blaine repeats the vague gesture “… isn’t what was in the box I ordered.”

Kurt jerks upright in surprise. “It’s … it’s not?”

“No.” Blaine’s gaze darts away. He chuckles nervously. “The box I ordered was supposed to be filled with ingredients and instructions to cook a romantic dinner for two. I thought that we could make it together.” Blaine picks up the tube of chocolate lube. “I don’t know how they could have mixed that up. Do you still have the box?”

“Over there.” Kurt points to the far corner of the room. “Underneath the purple velvet.” Blaine walks over to where a square piece of purple fabric conceals the cardboard shipping box from view. He removes the fabric and takes a close look at the label. With wide eyes, he immediately spots the problem.

“Here’s how.” He points to the address. “This box was supposed to go to your neighbors next door.”

Kurt’s jaw drops open. “Rachel must not have checked the label when she brought the box inside. She just assumed it was mine.”

“Which means that Mr. and Mrs. Scott Juleson are currently enjoying linguine with seared tuna and tapenade.”

“And they’re also freaky as hell,” Kurt remarks, remembering the gel-filled dildo chilling in the refrigerator. Blaine looks at Kurt with a raised brow, eyes traveling from the feather barrette clipped in Kurt’s hair to the halter of strategically placed chains hanging from his shoulders. Kurt catches Blaine’s gaze traveling down his body and he turns bright red. “Oh. Oh …” he mutters, crawling off the bed.

“Hey, hey, hey! Hey, now.” Blaine circles around the side to block Kurt’s exit. “Where do you think you’re going?”

“I’m going to get dressed before I embarrass myself any more than I already have.”

“What makes you think you’re embarrassing yourself?” Blaine kneels on the bed. He crawls over Kurt, leading him backwards toward the pillows.

“Do you actually like this?” Kurt asks, amazed that he still might, mix up or not.

“A-ha,” Blaine replies. He kicks his shoes off, his right hand pulling his bowtie loose.

“B-but … aren’t you tired after your flight?” Kurt shimmies to his original spot, the intense heat in Blaine’s eyes new and different … and exciting.

“Surprisingly not so much anymore.”

“Aren’t you hungry? Don’t you want to eat?”

Blaine raises the tube of chocolate flavored lube and pops the lid. “Oh,” he says, giving Kurt’s body one more once over. He stops at the front of Kurt’s silky shorts and licks his lips. “I intend to.”

#Klaine fanfiction #klaine fic #klaine #sunshineoptimismandangels #frankie writes

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errorsystemfailure · 6 years

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what about Sally?

give me a name and i’ll tell you about personal experiences with people with that name! (I assumed that kin experiences were also fine.)

LET ME TELL YOU ABOUT SALLY BOWLES.

Alright, so. I was, of course, the star attraction at the Kit Kat Klub. Name one person with more musical numbers than me. Spoiler alert: you can’t.

I didn’t own the club; that honour belonged to a grungy little German fellow named Max. I did, however, essentially run the place in everything but name. I knew all the performers; I kept them working; I kept them relatively friendly with one another. Everyone respected me, with a healthy dose of mild fear. Knowing I could make it so they never got a job again, if I so chose.

And one day this tiny little blonde girl walked in on Max’s arm, and informed me that she was my new starlet. She said it with such utter confidence that I almost believed her without question; there was no shake to her voice or doubt in her mind that she was the most talented person I’d ever have under my wing at the club.

She wasn’t anything special, vocally. She wasn’t bad by any means, but she wasn’t exactly the vocalist she thought she was, understand? Still, there was something so earnest about the way that she performed (and according to clients at the club, she was’t half bad in the sack), and I found myself rather taken by this tiny English girl with the big dreams of fame and fortune.

After she and Cliff broke up, she stayed with me for a few weeks. One night I woke up and she’d gone, along with my last bottle of gin and thirty marks. I didn’t begrudge her those. She’d need them, wherever she ended up.

I often wonder what happened to her. If she escaped, if she died in the camps…

Poor Sally.

#I got a little carried away with this one. Aha. Whoops.#Thanks for asking!#i don't care very much either way | emcee tag #a mystic in the sense that she's still mystified by things | asks #little---birdy #amalgamation blogs

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michaelfallcon · 5 years

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Agony And Ecstasy At The World’s Largest Starbucks

The roasting machine at the biggest Starbucks in the world is a khaki-colored Probat P25-2 named Charlotte Jackson. The staff—channeling the Kit Kat Klub in black and white, vests and ties, and felted H&M hats cocked in compliance with the Chicago health code—chose “Charlotte” in honor of the woman walking her dog on the label of Starbucks’ classic Gold Coast Blend. The flavor celebrated Starbucks’ expansion into the Windy City in 1987, while “Jackson” calls out the address of that first Chicago location. While Charlotte was never the dogwalker’s official name, the staff felt it expressed her specific je ne sais quoi, and management agreed.

Charlotte Jackson greets you as you walk into the five-story Starbucks Reserve Roastery that opened on Chicago’s Magnificent Mile on November 15, 2019—the sixth such roastery worldwide, and for now, the largest Starbucks location on Earth. The roastery features four glass-enclosed floors (the fifth floor is the rooftop) that suggest a transparent tiered cake, each floor an indoor diorama of winter-beaten humans seeking heat and comfort. (November in Chicago is winter in Chicago, don’t @ me).

If Charlotte is the building’s ground-floor, immovable hearth, her visual twin is the roastery’s “cask”—a 56-foot cluster of parallel metal tubes shuttling roasted beans to each floor, each bean blend traveling up and down via its own gleaming beanstalk, then hurtling to various locations (bean silos, barista stations) via a web of smaller pneumatic tubes crisscrossing each ceiling. Every roastery has its own uniquely designed cask system; an employee (or “partner” as they are called) shared with me that Chicago’s cask is supposed to symbolize the sun, that the seafoam ceiling planks radiating out from the cask to the opposite end of the building represent the rays of the sun, and that the small light fixtures twinkling across the ceilings represent coffee beans, presumably the children of the sun.

I admit I visited the Big Chungus of Starbucks to have some fun; imagining an event on the level of the Staples Logo Unveiling, I meant to vex the giant glass house with a few well-thrown scones. Starbucks has over 30,000 locations on six continents in 80 countries. If all 35,000 square feet of the Chicago structure can be counted as a coffee shop (and coffee is indeed served on each level), this Davos of the demitasse is not only the largest Starbucks location on the planet, but the largest coffee shop, period, dwarfing Riyadh’s Al Masaa.

Accordingly, when I arrived on opening day a bit before 5PM, I saw a 45-minute wait and two separate lines that folded around the block and doubled back on themselves to spare the sidewalks (the wait time was down from two hours; for the opening at 7AM over 1,000 people were in line). After regrouping inside one of the half-dozen normal Starbucks nearby, I came back at 6PM and began freezing in Line Two as the Starpartners supervising the crowd chanted, “Welcome to the chocolate factory of coffee!” Exactly 60 minutes later, I entered Versailles.

A little fireplace burns by the front door; burlap bags of beans rest fatly in the windows; and the giant beanstalks call to mind the Wonka factory or a theme park. The “Master Roaster” next to Charlotte Jackson holds forth to a crowd, blending the zeal of a circus ringmaster with the humility of a docent. The baristas, as noted, are out of a PG-rated Cabaret, bagging and brewing and ringing up coffee and Princi Italian pastries at the biggest countertops in the world; the music pulses as if you’re browsing in Zara; the mannequins wearing denim on denim invite you to reach for your wallet; and a glance out the window at Ferragamo, Burberry, and Ermenogilda Zegna inspires you to empty it.

I always make my boy happy, I hear a mother say to her son as they walk toward the curved escalator. You know why? Because you’re my everything. Into a tan fabric shopping basket you can pack the contents of an entire trade show: branded Starbucks Reserve keychains, beanies, baseball hats, puzzles, stickers, coin purses, totes, and latte art stencil sets; journals, luggage tags, a “coffee passport,” and a hand-painted La Marzocco espresso machine; woven aprons, leather coasters, cuffs, and wallets from Seattle’s Hardmill; coffee technology ranging from grinders, siphons, pour-overs, and presses to French press stirrer timers and a temperature-controlled mug called an Ember, its travel tumbler priced at $149.95; and of course, coffee. Many of these items have “Starbucks Reserve” printed on them in case you forgot where you bought them (or how much you paid).

The biggest Starbucks in the world is also Starbucks’ shrine to itself, a laboratory to brew its own mythology in perpetuity. Beans rest in glass jars like capsules on an apothecary’s shelf. “WHAT IS CHAR?” asks one display, explaining the secret to barrel-aging coffee. Here, coffee is no longer water passed through beans; it is arcane potion and luxury indulgence, artistic statement and elixir of aspiration, credit card line item and divine mystery. Mud has arrived.

The mysteries multiply by the floor. On floor one, coffee is served in its most approachable forms: hot brew, cold brew, espresso. On floor two, it is served with thick-crusted, oil-dappled pizzas rustled up by the chefs of Princi Bakery; the line stretches all the way across the building, kitchen to cask. On floor three, where PETA is protesting the surcharge for vegan milks, lives the Experiential Coffee Bar, where you can try barrel-aged coffee, “flights” pairing cold brew with whiskey, mulled spiced coffee, coffee with truffles, and liquid nitrogen gelato. Facing yet another line of 45 minutes or longer, I text STARBUCKS to 78322 and within seconds I have auto-sent a petition to make soymilk free.

On floor four, at the Arriviamo Bar, coffee and booze take their relationship to the next level, pairing off in ways even PETA might approve of. Alongside martinis, Manhattans, and other classics, you can sample coffee-based cocktails, including the Chicago-specific, thirteen-ingredient Roastery Boilermaker, featuring Chicago’s infamous municipal liquor of record, Malört. Friends have warned me that Malört tastes like “burnt hairspray” and “floral gasoline,” but I have no chance to disprove this because at 8:50PM, I’m told it’s too long to get on the waitlist to order before last call at 11:15PM.

Unfed and unbeaned, I return to the first floor to say goodbye to Charlotte Jackson (there are also a phalanx of Nuova Simonelli Black Eagle espresso machines, but she is the centerpiece). The Master Roaster, whose name is Patrick, explains how Charlotte roasts coffee in batches of 25 pounds for 10-12 minutes, with thermocouples inside her roasting drum monitoring the uniformity of the roast and the integrity of the roast curve; the beans then pass through a spectrometer to ensure they’re the right color for their roast level, then head downstairs to be destoned and de-gassed for seven days, after which they travel via the cask and its pneumatic web to the baristas, who have six days to use them up.

On my way out, I order Patrick’s recommendation: the Hawaii Ka’u, a dark, frank, bitter face-squincher. I buy one for myself and another for a friend I’m meeting afterward, as well as a cannoli to share with her, and I leave the biggest Starbucks in the world to return to my regular-sized existence.

We are now having important national conversations about exactly how big things need to be, specifically things like individual and corporate bank accounts; before my visit, a friend joked that I should search the Roastery for a golden statue of Howard Schultz. “Billionaire,” despite its jaunty French suffix, has no flair; it’s a buffoonish, bloviant word. It feels tightly spherical and self-satisfied, ready to burst under pressure—and indeed, there are more and more questions being asked as to how, exactly, Starbucks has amassed the sort of fortune necessary to build these Brand Experience Palaces.

For what it’s worth I am entirely satisfied with my usual Starbucks in Fulton Market, with its deep comfortable chairs and the Wi-Fi I feel less guilty about hogging than Stumptown’s or La Colombe’s. What I yearn for in a coffee shop is a sanctuary from bigness; I want it to feel like an extension of my home, cozy, contained, intimate. The world seems more manageable when bounded inside the shop, inside my cup.

It’s true that, inside the biggest Starbucks in the world, there are nooks and corners to read and hibernate (though nowhere in the building is there an electrical outlet). It’s hard to imagine anyone becoming a regular here; it’s built for tourists and gawkers, for holiday shoppers, for people giving out-of-town friends an Experience (if they have the patience to wait on line). But I’m probably the only one worrying about this. “You know how everyone thinks about Starbucks, like it’s just Starbucks, it’s everywhere,” said a young partner who welcomed me to the top floor. “This is about brand elevation.” He is the same one who explained to me the connection between the four-story cask and the rays of the sun. The sun is going nowhere, at least for now.

Starbucks Reserve is located at 640 N Michigan Ave, Chicago. Visit their official website and follow them on Facebook, Twitter, and Instagram.

Janani Sreenivasan (@jennyvasan) is a comedy writer, filmmaker, and political strategist based in Chicago. Her work has appeared in Reductress, The New Yorker, McSweeney’s, and The Toast. Read more Janani Sreenivasan on Sprudge.

Photos by Janani Sreenivasan for Sprudge Media Network.

The post Agony And Ecstasy At The World’s Largest Starbucks appeared first on Sprudge.

Agony And Ecstasy At The World’s Largest Starbucks published first on https://medium.com/@LinLinCoffee

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shebreathesslowly · 5 years

Text

Agony And Ecstasy At The World’s Largest Starbucks

Starbucks Reserve is located at 640 N Michigan Ave, Chicago. Visit their official website and follow them on Facebook, Twitter, and Instagram.

Photos by Janani Sreenivasan for Sprudge Media Network.

The post Agony And Ecstasy At The World’s Largest Starbucks appeared first on Sprudge.

from Sprudge https://ift.tt/37FFgWz

#Sprudge

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cynthiajayusa · 7 years

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Broadway Across Palm Beach

The Raymond F KRAVIS CENTER FOR THE PERFORMING ARTS Announces Kravis On Broadway’s 10th Anniversary Season Featuring Seven Blockbuster Hits in 2017/2018 Including Multiple Tony Award® Winners & Kravis Center Debuts. They are: Rodgers & Hammerstein’s THE KING AND I (November 7-12, 2017); THE BOOK OF MORMON (November 21-26, 2017); FINDING NEVERLAND (January 2-7, 2018); CABARET (February 6-11, 2018); THE ILLUSIONISTS Live From Broadway (March 6-11, 2018); THE BODYGUARD (April 10-15, 2018); SOMETHING ROTTEN! (May 1-6, 2018), and Coming to the 2018/2019 Kravis On Broadway Season Disney’s THE LION KING.

(Photo: The Book of Mormon / Joan Marcus)

Lee Bell, the Kravis Center’s Senior Director of Programming said: “2017/2018 marks the Tenth Anniversary of Kravis On Broadway, and this spectacular season features seven not-to-missed shows including six making their Kravis On Broadway debut and the return of the Tony Award® winning Best Musical, THE BOOK OF MORMON, which sold out during its first Kravis Center run in December 2014.”

The 2017/2018 Kravis On Broadway series includes:

Rodgers & Hammerstein’s THE KING AND I

November 7-12, 2017

Two worlds collide in the Lincoln Center Theater production of this “breathtaking and exquisite” (The New York Times) musical, directed by Bartlett Sher. One of Rodgers & Hammerstein’s finest works, THE KING AND I boasts a score that features such beloved classics as “Getting To Know You,” “I Whistle a Happy Tune,” “Hello Young Lovers,” “Shall We Dance” and “Something Wonderful.” Set in 1860’s Bangkok, the musical tells the story of the unconventional and tempestuous relationship that develops between the King of Siam and Anna Leonowens, a British schoolteacher whom the modernist King, in an imperialistic world, brings to Siam to teach his many wives and children. Winner of the 2015 Tony Award® for Best Musical Revival, THE KING AND I is “too beautiful to miss” (New York Magazine).

THE BOOK OF MORMON

November 21-26, 2017

The New York Times calls it “the best musical of the century.” The Washington Post says, “It is the kind of evening that restores your faith in musicals.” And Entertainment Weekly says, “Grade A: the funniest musical of all time.” Jimmy Fallon of The Tonight Show calls it “Genius. Brilliant. Phenomenal.” It’s THE BOOK OF MORMON, the nine-time Tony Award®-winning Best Musical. This outrageous musical comedy follows the misadventures of a mismatched pair of missionaries, sent halfway across the world to spread the Good Word. Now with standing room only productions in London, on Broadway, and across North America, THE BOOK OF MORMON has truly become an international sensation. Contains Explicit Language.

FINDING NEVERLAND

January 2-7, 2018

The winner of Broadway.com’s Audience Choice Award for Best Musical, this breathtaking smash “captures the kid-at-heart,” says TIME Magazine. Vogue cheers, “It’s a must-see you’ll remember for years to come!” Directed by visionary Tony®-winner Diane Paulus and based on the critically-acclaimed Academy Award® winning film, FINDING NEVERLAND tells the incredible story behind one of the world’s most beloved characters: Peter Pan. Playwright J.M. Barrie struggles to find inspiration until he meets four young brothers and their beautiful widowed mother. Spellbound by the boys’ enchanting make-believe adventures, he sets out to write a play that will astound London theatergoers. With a little bit of pixie dust and a lot of faith, Barrie takes this monumental leap, leaving his old world behind for Neverland, where nothing is impossible and the wonder of childhood lasts forever. The magic of Barrie’s classic tale springs spectacularly to life in this heartwarming theatrical event. FINDING NEVERLAND is “far and away the best musical of the year!” (NPR).

CABARET

February 6-11, 2018

Based on Roundabout Theatre Company’s Tony Award®-winning production, Sam Mendes (Skyfall, American Beauty) and Rob Marshall’s (Into the Woods and Chicago, the films), CABARET comes to the Kravis Center. Welcome to the infamous Kit Kat Klub, where the Emcee, Sally Bowles and a raucous ensemble take the stage nightly to tantalize the crowd – and to leave their troubles outside. But as life in pre-WWII Germany grows more and more uncertain, will the decadent allure of Berlin nightlife be enough to get them through their dangerous times? Come hear some of the most memorable songs in theatre history, including “Cabaret,” “Willkommen” and “Maybe This Time.” Leave your troubles outside – life is beautiful at CABARET, John Kander, Fred Ebb and Joe Masteroff’s Tony-winning musical about following your heart while the world loses its way.

THE ILLUSIONISTS: Live from Broadway

March 6-11, 2018

Hailed as “a high-tech magic extravaganza” by The New York Times, this mind blowing spectacular showcases the jaw dropping talents of five of the most incredible Illusionists on earth. THE ILLUSIONISTS – Live From Broadway has shattered box office records across the globe and dazzles audiences of all ages with a powerful mix of the most outrageous and astonishing acts ever to be seen on stage. This non-stop show is packed with thrilling and sophisticated magic of unprecedented proportions. Direct from Broadway, this is the world’s best-selling magic show.

THE BODYGUARD

April 10-15, 2018

Based on the smash hit film, the award-winning musical will star Grammy® Award-nominee and R&B superstar Deborah Cox. Former Secret Service agent turned bodyguard, Frank Farmer, is hired to protect superstar Rachel Marron from an unknown stalker. Each expects to be in charge; what they don’t expect is to fall in love. A breathtakingly romantic thriller, THE BODYGUARD features a host of irresistible classics including “Queen of the Night,” “So Emotional,” “One Moment in Time,” “Saving All My Love,” “Run to You,” “I Have Nothing,” “I Wanna Dance with Somebody” and one of the biggest selling songs of all time – “I Will Always Love You.” Based on Lawrence Kasdan’s Oscar-nominated Warner Bros. film and adapted by Academy Award- winner (Birdman) Alexander Dinelaris, THE BODYGUARD had its world premiere in London’s West End where it was nominated for four Laurence Olivier Awards including Best New Musical and won Best New Musical at the Whatsonstage Awards. The Southern Daily Echo raved, “It started with a gunshot and kept us on the edge of our seats from the outset. Exciting, thrilling, uplifting, moving – THE BODYGUARD is a truly exceptional show! … A five gold star-winning show. Miss it at your peril!”

SOMETHING ROTTEN!

May 1-6, 2018

Welcome to the ’90s — the 1590s — long before the dawn of premium tickets, star casting and reminders to turn off your cell phones. Brothers Nick and Nigel Bottom are desperate to write a hit play but are stuck in the shadow of that Renaissance rock star known as “The Bard”. When a local soothsayer foretells that the future of theatre involves singing, dancing and acting at the same time, Nick and Nigel set out to write the world’s very first MUSICAL! But amidst the scandalous excitement of Opening Night, the Bottom Brothers realize that reaching the top means being true to thine own self … and all that jazz. With its heart on its ruffled sleeve and sequins in its soul, SOMETHING ROTTEN! is an uproarious dose of pure Broadway fun and an irresistible ode to musicals — those dazzling creations that entertain us, inspire us, and remind us that everything’s better with an exclamation point! From the director of Aladdin and the co-director of The Book of Mormon, SOMETHING ROTTEN! is “Broadway’s big, fat hit!” (NY Post).

And Coming to the 2018/2019 Kravis On Broadway Season Disney’s THE LION KING

More than 90 million people around the world have experienced the phenomenon of Disney’s THE LION KING, and now you can, too, when the world’s best-loved musical comes to the Kravis Center for the first time. Winner of six Tony Awards®, including Best Musical, this landmark musical event brings together one of the most imaginative creative teams on Broadway. Tony Award®-winning director Julie Taymor brings to life a story filled with hope and adventure set against an amazing backdrop of stunning visuals. THE LION KING also features some of Broadway’s most recognizable music, crafted by Tony Award®-winning artists Elton John and Tim Rice. There is simply nothing else like Disney’s THE LION KING.

The best way to ensure being first in line to order tickets to Disney’s THE LION KING at the Kravis Center during the 2018/2019 season is to remain or become a subscriber to the Kravis On Broadway 2017/2018 season.

How to Get Tickets to Kravis On Broadway 2017/2018: Subscribers for the Kravis On Broadway series will receive their renewals in early March. Kravis Center donors will receive information on becoming a Kravis On Broadway subscriber for the 2017-2018 series mid May, and subscriptions will go on sale to the general public in June. For more information about becoming a donor, log on to kravis.org/membership, or call (561) 651-4320.

For information about purchasing a subscription to Kravis On Broadway 2017/2018, contact the Kravis Center box office at (561) 832-7469 or (800) 572-8471, or log on to www.Kravis.org/broadwayseason.

For group sales contact Teri Reid at (561) 651-4438 or [email protected] or Karen Farruggia at (561) 651-4304 or [email protected].

About the Raymond F. Kravis Center for the Performing Arts:

Celebrating 25 Seasons of Success, Thanks To The Community: This season, the Raymond F. Kravis Center for the Performing Arts celebrates a Quarter-Century on Stage. And while we celebrate our silver anniversary, we renew our commitment to the community to present the gold standard of excellence in the performing arts.

Today, the Kravis Center is a thriving cultural complex, serving as the gateway to downtown West Palm Beach. Thanks to so many who have and continue to support the Center; it has become one of the premier performing arts centers with a renowned national and international reputation.

The Kravis Center is a not-for-profit performing arts center whose mission is to enhance the quality of life in Palm Beach County by presenting a diverse schedule of national and international artists and companies of the highest quality; by offering comprehensive arts education programs; by providing a Palm Beach County home in which local and regional arts organizations can showcase their work; and by providing an economic catalyst and community leadership in West Palm Beach, supporting efforts to increase travel and tourism to Palm Beach County. The Kravis Center is located at 701 Okeechobee Blvd. in West Palm Beach, FL. For more information, please call 561-832-7469 or visit the official website at http://www.kravis.org/.

source https://hotspotsmagazine.com/2017/08/24/broadway-across-palm-beach/ from Hot Spots Magazine http://hotspotsmagazin.blogspot.com/2017/08/broadway-across-palm-beach.html

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demitgibbs · 7 years

Text

Broadway Across Palm Beach

(Photo: The Book of Mormon / Joan Marcus)

The 2017/2018 Kravis On Broadway series includes:

Rodgers & Hammerstein’s THE KING AND I

November 7-12, 2017

THE BOOK OF MORMON

November 21-26, 2017

FINDING NEVERLAND

January 2-7, 2018

CABARET

February 6-11, 2018

THE ILLUSIONISTS: Live from Broadway

March 6-11, 2018

THE BODYGUARD

April 10-15, 2018

SOMETHING ROTTEN!

May 1-6, 2018

And Coming to the 2018/2019 Kravis On Broadway Season Disney’s THE LION KING

For information about purchasing a subscription to Kravis On Broadway 2017/2018, contact the Kravis Center box office at (561) 832-7469 or (800) 572-8471, or log on to www.Kravis.org/broadwayseason.

For group sales contact Teri Reid at (561) 651-4438 or [email protected] or Karen Farruggia at (561) 651-4304 or [email protected].

About the Raymond F. Kravis Center for the Performing Arts:

from Hotspots! Magazine https://hotspotsmagazine.com/2017/08/24/broadway-across-palm-beach/ from Hot Spots Magazine https://hotspotsmagazine.tumblr.com/post/164562328695

0 notes

hotspotsmagazine · 7 years

Text

Broadway Across Palm Beach

(Photo: The Book of Mormon / Joan Marcus)

The 2017/2018 Kravis On Broadway series includes:

Rodgers & Hammerstein’s THE KING AND I

November 7-12, 2017

THE BOOK OF MORMON

November 21-26, 2017

FINDING NEVERLAND

January 2-7, 2018

CABARET

February 6-11, 2018

THE ILLUSIONISTS: Live from Broadway

March 6-11, 2018

THE BODYGUARD

April 10-15, 2018

SOMETHING ROTTEN!

May 1-6, 2018

And Coming to the 2018/2019 Kravis On Broadway Season Disney’s THE LION KING

For information about purchasing a subscription to Kravis On Broadway 2017/2018, contact the Kravis Center box office at (561) 832-7469 or (800) 572-8471, or log on to www.Kravis.org/broadwayseason.

For group sales contact Teri Reid at (561) 651-4438 or [email protected] or Karen Farruggia at (561) 651-4304 or [email protected].

About the Raymond F. Kravis Center for the Performing Arts:

from Hotspots! Magazine https://hotspotsmagazine.com/2017/08/24/broadway-across-palm-beach/

0 notes