#PHYSICAL THEATRE: EXPLORING THE SLAP | Explore Tumblr posts and blogs

bosspigeon · 3 years ago

Text

Carabosse et la Fee des Lilas

Prompt: 💋Drag

Pairing: Adam/Male Detective, Bonus Found Family Vibes~

Words: 5,346

Summary: Tina spends some quality time with Arlo and Unit Bravo as they prepare for Wayhaven's first real Pride festival, Tina torments her best friend and his maybe-boyfriend (as is her god-given right), and Arlo has a big think about his favorite role and what that role allowed him to explore~

CW for references to transmisogyny and implications of past trans/homophobia

Sometimes, Tina wonders if Arlo missed his true calling. His hands are surgeon-steady as he pencils delicate patterns onto Felix’s cheeks, outlining with white eyeliner in preparation to fill them in with bold colors and glitter. Tina almost can’t wait for her turn, even though Felix looks like he’s in real, physical pain with the effort of holding as still as possible. She’s no stranger to that struggle herself.

Neither is she a stranger to Arlo’s forceful, if toothless, threats, overcome as she is by fondness when he growls that he's going to draw a mustache on Felix’s face with permanent marker if he doesn’t stop bloody bouncing.

It’s pretty fun to watch from the outside. Sure, when you first sit down when he’s like this—all sharp and snappish and “stop moving or I’ll chuck you out the window”—it’s hard to keep still, but Arlo’s got this sort of quiet intensity to him when he’s focusing on something that’s oddly meditative. He’s just a soothing presence, really. Like a capybara or something. He’s friend-shaped.

Whatever weird magic it is, it’s definitely catching, because Felix looks less like he’s about to burst, like he did when Arlo was putting down the foundation, and more like he’s enjoying the attention. Tina’s not sure how long it’s going to last, seeing as Felix has given her a run for her money in the “manic energy” department, and he’s nowhere near as caffeinated as she is at any given time, but for the time being, he’s (mostly) still and quiet.

There’s music playing, quiet enough that the broody one (she knows his name, but it seems to bug him when she calls him "the broody one," which is funny, so—) only grumbled about it for a few minutes when Arlo turned it on, and even seems to enjoy sitting close enough to Arlo’s stupidly fancy stereo system to, she guesses, feel the rumble of the bass through the floor. Vampires are weird.

Anyway, it’s Arlo’s usual sad goth boy nonsense, but as quiet as it is, and with its intense instrumentals and rumbling vocals, it’s pleasant background noise more than anything.

Nate (the handsome and charming one, because of course all Arlo’s vampire friends are handsome, so she has to differentiate between them somehow) is rifling through Arlo’s bookshelf like it’s his job, and visibly struggling to pick something to read, because Arlo’s sitting room bookshelf (the one she found at a yard sale three hours away and lashed to the top of her sedan with every single bungee cord she could find at the local hardware store because it was coffin-shaped, for god's sake) is where he keeps all his weirdo occult stuff to, quote, “make people who pop by unannounced leave faster.”

And then there’s the big, handsome, stupidly fit blonde Arlo still won’t call his boyfriend, even though they’re so obvious it’s sickening, and she means that with all the love in her heart. He’s sitting in the armchair by the bookshelf, positioned so he can look like he’s reading one of Arlo’s old music magazines and totally isn’t taking advantage of the perfect line of sight of Arlo perched on the end of his coffee table so he’s not too tall to work on Felix, sitting in a chair from the kitchen. Tina sure hopes he doesn’t think he’s subtle, being a super special vampire secret agent and all.

He seems to notice her eyeing him, at least, and keeps his attention pinned firmly on the magazine, though he is definitely not reading a single word. Nate keeps browsing, the Broody One keeps brooding, Arlo keeps working, and Felix starts to hum. Arlo gives him a sharp look, but it doesn’t seem to be moving his face in any major way, so he just rolls his eyes and keeps tracing pretty patterns onto that unfairly smooth, dark skin. Do vampires do skin care? They probably don’t even need to, and that’s probably one of the reasons people like to villainize them. It always comes down to jealousy, doesn’t it?

She sighs, loudly enough that every eye in the room turns to her, and while she did not expect the sudden attention, she knows she can at least use it to entertain herself. She homes in on Adam, and smiles when she finally looks at the magazine he’s still valiantly pretending to read. There’s a familiar man on the cover, and while she can’t be bothered to remember his name, she grins. “Oh, hey! Arlo, he’s reading the one with the guy who looks like you!”

Arlo doesn’t even look up, but he huffs out a laugh and rolls his eyes again. He’s going to give himself a headache if he keeps that up.

The comment does exactly what she wants it to, which is draw the attention of all the other vampires. Arlo even begrudgingly pulls the pencil away from Felix’s cheek so he can take a look, and he immediately bursts out laughing.

“Arlo!” he exclaims, slapping at Arlo’s knee. “You didn’t tell us you had a twin!”

Nate chuckles (warm and rich and handsome, if a sound can be called handsome) and turns from the shelf to study the magazine curiously himself. Even the Broody One peers over to see, a little smirk curling his permanently-scowling mouth.

“Considering he was born in the sixties, I definitely don’t,” Arlo drawls. “Tina’s been making that joke since we were kids. She’s just happy she’s got an audience who hasn’t heard it twelve times a week since she first saw my old Type O Negative poster.”

“Some jokes just get better with time,” Tina says archly. “Like a fine wine.”

“And some jokes age like milk,” Arlo fires back.

Adam tilts the magazine so he can look for himself, and his dour expression clouds over even more, brows furrowing and mouth twisting. He peers up at Arlo, studying him, then down again.

Got you. “Yeah, you’re right,” Tina says, nodding sagely at him. “Arlo’s much prettier.”

It has exactly the reaction she was hoping for. Arlo drops his eyeliner pencil and makes a strangled noise, glowering at her with his cute freckly cheeks going all red, and Adam, who is a good bit paler than Arlo, goes pink from the crewneck of his just-this-side-of-too-tight tee shirt to his hairline. Tina wants to punch the air as the other vampires snicker at them. Well, except for Nate. Nate’s not a snickerer. He chortles. It’s adorable.

“Speaking of pretty!” Felix crows once they’ve all had a laugh at their fearless leader’s expense. He points to his own face with both hands, dancing in his chair, and Arlo sighs and rolls his eyes again, bending to pick up the dropped pencil. Luckily, the tip isn’t broken, so he can get right back to work, once he’s given the young vampire a moment to get his wiggles out. He settles, sitting on his hands and pursing his lips when Arlo gives him a dry look. He hovers back in with the pencil, and then Felix blurts out, “How’d you get so good at this anyway? Well, I assume you’re good at it. I haven’t seen it yet.”

Arlo doesn’t say anything. He just looks at him, pencil poised, until Felix pinches his mouth shut with a quick little apology. Once Arlo’s satisfied his canvas is actually going to hold still and keep quiet, he gets back to it. “My school was pretty small, especially compared to the bigger-name performing arts schools out there,” he says after a moment of quiet focus, tracing the outline of a heart around one of Felix’s eyes. “Our department didn’t really have a huge budget, and workspace was at a premium too. We didn’t have a lot of time to prepare for performances before someone else had to use the theatre, so we all did our own makeup at once, for the most part. Sometimes we’d help each other out, because we all had our strengths and weaknesses.”

He pulls back the pencil, squinting critically at the heart like it’s not completely perfect. “Demi was the best at laying the groundwork, and at matching colors to our costumes and complexions. Viv was the best at coming up with concepts and making sure we looked like a matching set. Wendi could do insane prosthetics, and was the best at bullying our department head into giving us the money for them. I had the steadiest hands, so I always did the eyes and the details.”

“Was Wendi the one who did your Dracula look?” Tina gasps. “That one was so cool!”

“Dracula?” Felix blurts. Tina doesn’t miss how the others perk up with interest too.

Arlo glares at him, and he shrinks back with a sheepish little grin. “Yeah, we did Dracula, uh… second year, I think? That was when Tilly transferred in and started doing our choreography. She’s the one who got Professor Dacey to let us do less classical stuff and start branching out a bit.” He glances briefly at Tina, staunchly ignoring the way Felix pouts at him for dividing his attention. “And, yeah, Wendi did the prosthetics for that one.”

“She’s got to be magic,” Tina asserts. “She managed to make your sweet, mopey face look so scary.”

Felix and Mason both snicker at that, and Arlo’s mouth goes all lemon-sour pinchy, like it always does when she calls him a sad puppy man, or any variation thereof.

“Take a lap,” Arlo says to Felix. “Don’t touch your face.” He jerks his head at Tina when Felix bolts to his feet and starts zooming around the flat to get out some of his energy. “Your turn, if you’re done being a comedian.”

“I’m never done,” she says with a sunny smile, but she bounces over to take Felix’s place in the chair and closes her eyes serenely so he can start on her makeup.

“And, God, do I know it,” he grumbles under his breath, knowing full well she can hear him, and so can everyone else in the room, too.

“Do you have pictures?” Felix hollers. He’s dipped into Arlo’s studio, and he’s making no secret of rifling through the desk in there, drawers slamming and paper rustling.

Arlo tips his head back so when he sighs, loud and dramatically long-suffering, he’s not blowing his breath right in Tina’s face. She appreciates the gesture. “Bottom right drawer,” he calls back, resignation thick in his voice. Given how long he’s been putting up with Tina—and Felix might just be Tina’s second platonic soulmate (Arlo, of course, being the first)—he already knows that keeping quiet is just prolonging the inevitable. Tina opens her eyes briefly to see Felix come sailing out of the studio with a thick leather-bound album held triumphantly over his head.

“Oh, I haven’t seen that in years!” she coos happily.

Arlo bops her on the forehead pointedly with a sponge covered in foundation, and she closes her eyes obediently.

She hears Arlo’s antique sofa creak as Felix plops down onto it, rifling through the plastic pages. “Aw,” he whines, “no baby pictures?”

“I can’t imagine him ever being a baby,” Mason snorts, and he sounds closer than he was before. Tina knows better than to open her eyes while Arlo’s in the zone, though. He’ll bop her with something less soft than a sponge next time. “I figured he’s just always been a giant.”

Felix laughs, high and chiming. “No wonder Agent Priestley’s always so sour, then,” he says. Tina giggles, and it becomes an inelegant snort when Arlo bops her again on the nose.

“Ask Rebecca if you want to see my baby pictures,” Arlo mutters blandly, and Tina can feel the weight of his attention. “I doubt she has many after age two, and the ones before I’ve barely seen.”

Tina’s not a super-special supernatural secret agent, but she tries with all her might to will someone to change the subject before things get weird. Now’s as good a time as any to learn telepathy.

Felix, heart of her heart, interrupts what’s shaping up to be a real prize winner of an awkward silence with a loud gasp. “Woah!” he exclaims, and pages crinkle as he presumably holds up the book for Arlo to see. “Who’s this? Did you do her makeup too?”

Arlo’s hair rustles as he turns his head away from her, and then the hand on her cheek freezes. Tension radiates through every inch of his body, practically leaching into hers. She cautiously opens one eye, and sees Arlo sitting up impeccably straight, stiff as a board and staring at Felix like a deer in the headlights. He swallows so hard she can see his throat move. “Um,” he says, stilted and strange. “Yeah. I did.”

Tina opens both eyes and squints at the photo album. Oh.

Felix looks at the sudden strain in the way Arlo is sitting, the tightness of his posture, and looks quizzically down at the picture again.

Tina remembers that performance. She remembers Arlo dancing (ha) around the subject when she asked him teasingly if he was going to be playing the prince, who was the lead, was he excited to kiss a pretty girl?

She can’t remember the character’s name, not so many years after the fact, especially since they were all weird classical nonsense, either Latin or French or some mishmash of the two. But she remembers the costume. She remembers waiting with bated breath to see Arlo onstage, to stand and scream and cheer obnoxiously loud in support of her best friend. She shot to her feet the second she saw his obvious silhouette rise from a feather-bedecked black chariot, head and shoulders taller than anyone else onstage. The music swelled, lightning flashed, and then when the spotlight hit him, she was so stunned she plopped right back into her seat with her jaw on the floor.

Arlo’s always been one of those guys that straddled the line between pretty and handsome. Long, lustrous hair and eyelashes she would kill for, cheekbones that could kill, a defined jaw, a proud nose, and intense eyes she could only call sultry—if she hadn’t known him since they were both weird, gawky brats, she’d probably be half in love with him before figuring out she wasn’t his cup of tea. But seeing him onstage was always an adventure. He threw himself into whatever character he played, put his everything into them, from the costume to the makeup to the performance. He just became the character, and in a way that was so very Arlo, all that intensity and focus channeled into an act that completely stole the show, in Tina’s humble and completely unbiased opinion.

Carabosse! That was her name!

Carabosse was no different.

Arlo’s makeup was flawless, ghost-white foundation giving him intense Morticia Addams vibes, contouring that made his cheekbones look absolutely unreal, bold black (or maybe really dark purple?) lipstick and shiny, smoky eyeshadow that made him look ethereal and wicked, with a daggerpoint cat-eye that she spent an hour begging him to teach her after the show. When he turned his head in a sharp, birdlike motion to look down his nose at the dancers playing the King and Queen, she gasped at the way his hair rippled down his back, shiny-black and woven with actual feathers that trailed back from the ornate metal circlet resting on his brow like a bird’s crest. The costume was breathtaking, too, a tightly corseted bodice and a high collar, a dramatically billowing skirt and trailing, feathered sleeves that flared like wings whenever he moved.

And the way he moved! Arlo’s dancing changed with every role, whatever he felt would suit the character. One of her favorites was always his Hans-Peter (she had a soft spot for that one, and had ever since she was little—one of the first Christmas gifts her stepmom had ever given her was little storybook version of The Nutcracker that came with a CD) because his dancing was so stiff and stridently mechanical, he looked like a real toy soldier come to life. But his villains moved with a slinking, predatory prowl she’d only ever seen in monster movies, and never in something like a ballet. His Carabosse was as beautiful as she was terrifying, and it was incredible to watch. She wanted to fling herself at him after the show and babble at him endlessly like she always did, but she spent a solid minute staring at him slack-jawed, until he shifted awkwardly and looked down, and the confident intimidation of the Wicked Fairy sloughed away to reveal Arlo underneath.

He almost melted into the floor with relief when she finally startled to babble.

She puts a hand on his shoulder and squeezes, and he takes a slow, deep breath, offering Felix a strained smile. “Take a closer look, mate,” he says quietly.

Felix does. He looks up and squints at Arlo, and then back down at the photo. Tina has to bite her lip so she doesn’t laugh when he looks over at Adam, still holding the magazine with that metal singer that kind of looks like Arlo on it, and then back at Arlo. His mouth drops open into a little o, and he shoots to his feet and shouts, “No way!”

Mason was allowed his name back briefly, but he goes right back to Broody One when he grimaces at Felix and slinks pettishly back to his corner.

Arlo’s shoulders are practically around his ears, but he tries to keep smiling. “Yeah. Sleeping Beauty. Fourth year. I was the Wicked Fairy.”

“He was amazing,” Tina declares, shoulders back and chin tipped up challengingly. “The costume was insane, but the way he played her was absolutely, ridiculously badass.”

“You look awesome!” Felix blurts, still gawking down at the photo. He flips to the next page, and squeaks happily when he finds more pictures, from different angles, showing off the costume, the way Arlo loomed over the other dancers, the way he commanded the stage. Tina should really find out who took the pictures and send them her thanks, because they really put in the work. “Your makeup, your dress, your hair! How’d you even do that?”

Arlo laughs, and it sounds so utterly relieved, Tina’s heart breaks a little. Arlo’s always been sensitive, and for someone who dresses and holds himself the way he does, he worries more than he lets on what people think of him. Especially people he cares about. She squeezes his shoulder again, and he bites his lip when he glances back at her and smiles hesitantly.

“A lot of wire, and enough hairspray to choke a bloody cow,” he says, twisting around and slinging his long legs over the coffee table so he can face the sofa. “I think we bought every bag of black feathers the craft store had, and then spent an entire weekend painting them with this stupidly expensive embossing powder. We had to get, like, ten pots of the stuff, because the craft store only had pots the size of a quarter.”

“I admire your dedication,” Nate says pleasantly, strolling over to peer over Arlo’s shoulder. They tighten just a bit before relaxing slowly. “That costuming is superb. I’ve seen professional productions that weren’t half so detailed.”

“That would be Viv’s work,” Arlo laughs, looking down at the pictures fondly. “She took whatever cheap garbage the department had for us, raided the nearest clearance fabric rack, and worked her magic. The employees at that little craft store loved and hated us in equal measure.”

Arlo is still tense, but he’s loosening up little by little, and with him Tina does too. The easy camaraderie is soothing, and she knows how much Arlo cares about his vampire friends, so it’s got to be a huge weight off his shoulders to be able to let his guard down around them. He deserves that. He deserves to be able to be himself.

Adam standing up draws Arlo’s attention like nothing else could, and he freezes like a startled rabbit again looking up at the burly blonde vampire as he approaches the sofa. He looks a split second from bolting. Tina sits up straighter and gives Adam her most daring look, squaring her shoulders to make it perfectly clear she's ready to fight the second he opens his mouth. She’ll definitely lose, sure, but she’ll make as much trouble as she can before she goes down.

He reaches out, his hand hesitating before it touches the album’s glossy page, and he looks up at Arlo with a questioning tilt to his brows. Arlo looks like he’s barely breathing, but he nods, and Adam slips one of the pictures from its sleeve. He straightens his spine, shoulders back, holding the photo and studying it carefully. His face is impossible to read, about as expressive as a bloody brick wall. Tina’s vibrating with nervous energy. She’ll fight a vampire, though. She will.

When Adam does finally speak, his voice comes out so softly Tina almost doesn’t hear it over the adrenaline rushing through her. “You look… striking.”

Striking. Oh my god.

She wants to laugh. They’re ridiculous.

“Thanks,” Arlo chokes out, his cheeks and ears going red this time.

Oh my god. Tina covers her mouth with both hands. Arlo glowers at her. It’s a lot less threatening when he’s blushing like that. “I didn’t say anything,” she mumbles against her palms.

“Your face,” he hisses, and she yelps.

“Oh! Shit!” She pulls her hands away, and he grabs her by the chin to check the damage with a click of his tongue.

Tina thought things would get better once Arlo actually kissed the man (and maybe got a leg over, but that’s only her business when she can finally get Arlo to actually talk about if the big, beefy Adonis is as missionary-with-the-lights-off as he looks) but at least they’re not just staring longingly at each other from across the room and then getting all sad about it anymore . Thankfully, Felix seems to be an old hand at clearing up the weird tension between the two of them, chiming in a delighted, “I’ve never seen you look so scary!” as he rifles through all the pictures from the Sleeping Beauty show. “I mean, you’re pretty scary when you go all furry, but also, you sort of just look like a big lanky puppy, because it’s just you, you know? This is someone else! Who is she! She's so cool!”

Arlo sighs and turns around to fix whatever Tina’s ruined with her foundation, and throws himself back into dolling her up. Thankfully, the actual festival’s not for a while yet. She complained about the unnecessarily early start when Arlo suggested the time, but now she’s glad he’s such a persnickety prick about scheduling. “I had a lot of fun with it,” he admits, shrugging his shoulders. “The original script notes said to get, y’know, sort of silly with it, but I wasn’t a big fan of that angle for a character like her. Yeah, I wanted to be campy, but not in the way…” He purses his lips. “Okay, well, Nate probably knows this, but a lot of classical ballets that have a female villains do this thing with them that I hate.” He frowns deeply, patting at Tina’s chin with gentle ferocity. “ An evil female character is supposed to be sort of… sort of a cautionary tale, I guess? Like your typical bitter spinster crone, the old hag, or the wicked stepsisters, things like that. So they’ll specifically cast a male dancer and put them in bright, gaudy facepaint and garish costumes that are supposed to be cartoonish and ugly, that you're supposed to find funny, to show you that this character is bad because she’s indelicate and mannish, and that’s why she’s evil.”

His mouth twists around the words, and he looks up, back at the vampires, leaving Tina a moment to really appreciate that Arlo’s comfortable enough with them to do what he’s only ever really done with her—which is ramble about something he’s passionate about. It’s always fun to watch. He turns back to her, and she just wishes his hands weren’t occupied, because he’s a big hand-talker otherwise. “I got the role because the professor thought it would be funny to stick me in a role like that, being so tall and, y’know,” he gestures vaguely to his faded old band tee and dark jeans, the thick leather cuff around his wrist. Tina doesn’t see what he really means, seeing as he looks cozy and content right now, but she gets what he’s going for. “He was expecting me to be awkward about it. The big, tough guy doing drag as the creepy crone caricature.” He huffs. “I talked with Demi about it, and we decided to say fuck that.” He sits up straighter, tilts up his chin, and looks down his nose at Tina.

She peers up at him, wide-eyed, and suddenly wonders if this is how Demi felt, playing Aurora when Carabosse looked down her nose at her like an insect under her heel.

“I thought Carabosse deserved better,” Arlo says fiercely. “If I was going to be a villain, I was going to be a damned good villain. I was going to tower over all the delicate, dainty little princesses and fairies, and I was going to be fierce. Professor Dacey wanted Aurora, and Candide, and Florine to be the epitome of sweet, delicate femininity, the ideal damsel in any classical show. Carabosse is supposed to be the complete opposite. You’re supposed to root against her, not want to be her. She’s a threat to the idea of womanhood, of the ideal feminine. She’s bold and selfish and she takes what she wants. I leaned into that. I even danced en pointe for parts of it, even though Carabosse isn't supposed to, and between the rehearsals and the actual performance, I thought my feet were gonna fall off, but it was worth it.”

Arlo smiles, and Tina is thrilled by the wickedness of it. She thinks she even sees just a hint of fang. Arlo’s been so careful about showing his teeth, ever since he told her what happened to him, why he disappeared for so long, so it's somehow special for him to feel like he can show her even a hint of what he’s become.

“Professor Dacey was pissed, afterwards, of course,” Arlo laughs, but there’s an edge to it. He seems to shrink. From Arlo to Carabosse to Arlo again. He looks down at his hands as they work on Tina more than at her face. “He didn’t, y’know, say anything he could have gotten fired over, but he did rail about being left out of planning and the budget and all that rot. Got even madder when Demi pointed out we’d spent our own money on the costumes. I think if he was tall enough to look down on me, he would have.” He snorts, a bitter curl to his mouth. Tina thinks of it painted bold, dark purple, thinks of how it would look with those teeth behind it. She wonders if he’d let her do his makeup for the festival. She’s not nearly as good at details as he is, but she’s no slouch either.

“You should have let me put raw fish in his hubcaps,” Tina mutters, just to make Arlo laugh. It works, and she beams at him.

“Would have been a waste of fish,” he mumbles, sucking his teeth. He finally picks up a bright eyeshadow palette and starts waffling over colors. He’s quiet while he deliberates, but after a while, he sighs. “I liked being Carabosse,” he says, like it’s a secret. Like he’s trying very hard not to be ashamed.

“I wish I could have seen it,” Adam says, almost dreamily. Tina could scream. “I— We could have, I mean. All of us. In solidarity.”

“Smooth,” Felix whispers.

“I’m sure it was a phenomenal performance,” Nate adds helpfully. He’s taken the album from Felix to flip through to some of Arlo’s other shows. “The passion you have for your characters shines through in just photos. It’s quite impressive.”

“You should have gone pro,” Tina mutters. “You’d be a household name by now.”

Arlo snorts and bops her with the brush. How many bops is that now? She’s certainly on a roll today. “And who’d keep you in line back here?” he teases.

Tina squints up at him and sticks out her tongue. “Like you’ve ever even tried to keep me in line, you big softie. You love the chaos, just admit it.”

“I’ll admit you to the hospital when you do something stupid and get yourself hurt again, how about that?”

They bicker like children back and forth while Arlo finishes her makeup, a wash of pink, purple, and blue eyeshadow and matching lipstick, overlaid with a lustrous sparkle to her cheekbones and a cute little black heart-shaped beauty mark under one eye. Felix gets a bi flag heart to match her eyeshadow around one eye, and then the rest is a sort of confetti splash of sparkly stars and hearts in every color. Even Nate goes for the bi eyeshadow (Bi-shadow? She should have been saying that this whole time!), making him, Tina, and Felix a matching set, and Mason consents to a very simple pan flag on his cheek. Tina suspects Adam only allows the eyeshadow treatment so he can have Arlo cup his face all tenderly, but she keeps the thought (mostly) to herself. He looks good in pastels, she thinks when she sees the finished blue, pink, and white.

Arlo draws a little heart under his eye too. The heart in Tina's chest almost explodes with warmth.

And then Arlo disappears into the bathroom, leaving the rest of them to entertain themselves while he gets ready on his own. They go through the album some more, and Tina tells them all about her favorite shows, because she went to every single one she could manage, and got Arlo’s school friends to send her videos of the ones she couldn’t. Tina Poname is Arlo Priestley’s number one fan, and that will never change. Not even now that she's got some competition.

When Arlo comes out of the bathroom, they all look up in sync, and he stands there, shifting anxiously from foot to foot under the attention, and lifts his hands in a stilted shrug. “So?” he asks, smiling nervously. He’s changed clothes, too. Tight pants, big boots, a mesh-sleeved black shirt underneath his patch-and-pin-covered denim vest. His wrists jingle with chunky bracelets, and his hair is braided neatly over one shoulder. But his makeup is what really steals the show. That insanely sharp cat-eye, of course, but one eye is done up in blue, pink, and white, and the other in yellow, white, purple, and black. He smiles timidly. “I, uh, I couldn’t really decide on just one,” he says, sticking his gloved hands into the pockets of his vest. “I’m, um, I’m not sure which one’s really right for me yet, I guess?” He shrugs again, and Tina watches delightedly as Adam stands up slowly, his eyes on Arlo with such an awed intensity she wonders if he even remembers there’s other people in the room. Arlo keeps babbling as he approaches, the words tumbling nervously from his black-painted lips. “I sort of like matching with you, Adam, and I know they’re both fine, but I—”

Adam grabs him by the lapels of his jacket, yanks him down to his level, and silences him with a kiss. Tina throws her arms up in the air with an impulsive shriek of “WOO!” that Felix echoes even louder. They high-five over Mason’s head, and he looks like he wants to throw them both out the window. Nate sits by with a pleasant little smile, which only fades when he takes note of the clock.

Adam and Arlo are still kissing, Arlo’s hands cupped around the vampire’s cheeks and Adam clinging to his vest like he'll drown if he lets go. Tina thinks she might see a hint of tongue when Nate loudly clears his throat.

They break apart with an indecent smacking noise, and Tina yelps out a sharp laugh when she sees Arlo’s black lipstick smeared all around Adam’s mouth.

Nate crosses his arms and smiles dryly at them. “Why don’t you two go fix your faces,” he suggests. “The rest of us will make sure the car is packed for the festival.”

“Um, yes. You— We—” Arlo fumbles for a bit, touching his smeared lips, his eyes just a bit dazed. He and Adam look at each other, and then flee for the bathroom together.

Tina’s never been more excited for a festival in her life.

#the wayhaven chronicles #wayhavensummer #pride in wayhaven #tina poname #adam du mortain #a du mortain #felix hauville #f hauville #specialist agent mason #specialist agent m #nate sewell #n sewell #oc: arlo priestley #pidge writes #HELLO I AM FINISHING THIS AT 3:30 AM #I HAVE MY FIRST DAY OF MY NEW JOB TOMORROW #WISH ME LUCK #this turned out WAY longer than i meant it to but god was it fun #i hope you guys like it as much as i liked writing it #arlo playin w gender expression via ballet is my everything #the costume designs for carabosse can be SO GOOD #but some of them are SO BAD #ballet is like that #its very uuuuh traditional wrt its aesthetics and gender roles #and arlo and his friends were all like 'but what if not'#anyway title is v last minute bc *shrug*#tina gets to be the lilac fairy #i did so much reserach into this ballet y'all #the only thing i didnt do was watch the whole thing #tho i DID find it on yt so i could later....

50 notes · View notes

sync-up · 6 years ago

Text

My BMC Experience

Hey y'all I saw BMC on February 24, 2019 at 2:00 and I have so many thoughts in my head so let's get this ball rolling. Everything is under the cut because it's a super long post and I have a lot to say

Changes:

WILL ROLAND HAS GLASSES! He has them at the beginning of the musical. The morning after he got his Squip, the Squip corrects his vision and he loses them for the rest of Act 1 and most of Act 2. After "The Play," he gets them back

New dialogue in More Than Survive from the teens

Mr Reyes rewrites A Mid Summer Night's Dream just cause he wants to

The Squip has a brand new verse right before BMC part 1!

More Than Survive Reprise has been replaced with a song named (Let's) Sync Up with only a few remaining lyrics at the end

There are a lot of changes to Upgrade lyrics, including the repeated line "I'm tired of being the person that everyone thinks that I am"

Halloween also has a new verse!

Jake no longer comes through the window, he just bursts through the door

Jason Tam sings along with the kids in one of the verses of Halloween, and dances along too. He's front and center

The Squip now wants to, and I quote, "take over the entire human race" to achieve Jeremy's goal

Michael at the hospital: "Hi Rich! ...Bye Rich!"

Overall, it looks like everyone is more thoroughly and explicitly explored? I mean everyone

Visuals:

Everything was very neony and flashy, like in off broadway

The band is behind the stage, behind a wall that can lift and drop

There's like a conveyor thing in the back that brings a lot of people on and off

There are these phone shaped rectangles that drop from the ceiling? At one point during the smartphone hour Jason Sweettooth Williams and Gerard (?) enter via those. They ride them

Right after More Than Survive, when Jeremy is about the go into the drama room, he waits outside for a bit prepping before Michael goes kind of “Really?” and pushes Jeremy into the room

During "I Love Play Rehearsal," Christine leans really close to Jeremy when she says "A part of me also wants to do this" and she looks like she's about to kiss him

During "Do You Want a Ride," Brooke has a soda can and a straw that she repeatedly jams into each other. She also sucks and licks the straw a lot

There was this weird streamer thing during Halloween? It was orange and long and it kept getting caught on people's costumes as they came out

Pretty sure this was unintentional, but during Smartphone Hour Brooke tried to yeet her banana off stage only it fell onstage

When Michael made his entrance, he ripped through this tapestry thing

JEREMY FLIPPED OFF THE SQUIP DURING THE PLAY

Squip (or Jason Tam) Stuff:

The costumes' color schemes transition from light blue/white to black/silver/white

He has maybe 5 costumes in total? Each change was pretty fast too, the longest amount of time he had offstage was maybe a minute or two and the shortest maybe 15 seconds

He didn't change between Act 1 and Act 2 which was surprising

He does not have a Neo costume during Halloween

He has emo hair at the end

As he "dies," the wall to the orchestra room behind the stage lifts and the Squip mimes being dragged into it

He's definitely the fourth wall breaker in this show. Several times he goes to the outside border of the stage (a place where no other character goes) and stares out into the audience. After DYWR he looks at them like "can you believe this guy?"

He also directly interacts with the audience by throwing sparkly confetti into them during "A Guy I Could Kind Of Be Into." The only time the wall to the orchestra is lifted is when the Squip dies

The Squip dabbed

For whatever reason, during DYWH he just... looked out the window a lot

I've been told this also happened off Broadway, but I'll say it again: After glitching out and speaking rapid Japanese, the Squip screeched and flopped face first onto the bed. He stayed there until the scene ended, and was carried out by the bed rolling out

He's now noted as a "learning program," and learns from observing human behavior

Christine confuses and frustrates him because she doesn't follow normal social rules

He loves?? Climbing shit

During the Play, he controlled the squipped teens like puppets and physically fought Mich & Jer. Every time Mich or Jer hit them, Jason would also mine being hit

Miscellaneous:

Oh my god, the line around the theater was SO LONG. It like doubled within five minutes!

I sat super close (Row E) and almost cried

The orchestra area was smaaaall. I only saw maybe 10-15 rows in the center orchestra. Big theatre though, there were two levels above us

Everyone in the audience was very enthusiastic, but respectful! They all cheered at the end when Jeremy kissed Christine (they were very cute)

A lot of people came out at stage door, especially for a Sunday matinee show! The list goes: Both Jasons, Stephanie, Gerard, George, Katlyn, Lauren. Troy and Cameron also came out even though they didn't perform!

Someone asked Jason Tam to say "How do you do, fellow kids" In his Squip voice. He did

Someone also asked Katlyn what headcanons she had for Chloe. She said that Chloe was in anger management because she slapped her pony named Cinnamon

PLEASE feel free to send me asks about this!! I had so much fun and can feel myself wanting to get into this show again! Please keep in mind that I saw this during previews, so some of this might not even have been in the evening show that same day and won't be in the final version after opening!

#be more chill #the squip #jason tam #be more chill nyc #bmc squip #i have so much more to talk about...#i just can't... think of them right now

152 notes · View notes

jacksauvage-blog · 6 years ago

Photo

tw: death, suicide, nazi references, homophobia, nsfw content

Jean-Baptiste Sauvage was a silent-era French filmmaker who has often been described as one of the fathers of modern horror cinema. He is credited with the discovery a number of techniques in lighting and editing that gave his films a sense of unreality. Though many of these techniques have been rendered obsolete by technological advances, they are still closely mimicked in many super-natural horror films today.

During his life, Sauvage wrote and directed five films and left behind countless reels of experimental footage. His first two films were produced in America and predate the rise of the studio system that most film historians believe pushed the filmmaker to return to his home country of France. There he would go on to produce three more feature films, including the film that catapulted his work to national attention, L'enfer dans Chaque Homme.

All but Sauvage’s final film, Jour de la Résurrection (ironically titled, considering its posthumous release), were thought to have been destroyed during the German occupation of France at the start of the second world war. However, in 1967, a trunk containing original reels was found in the basement of the estate that had once belonged to his parents.

American Short Films

The Devil in Distress (1919)

Despite a number of small, experimental projects produced in the early 1900s, this is considered Jean-Baptiste Sauvage’s first film. Running at exactly 21 minutes, the film shows one continuous shot of a lake from a considerable distance. A man walks into the frame, just on the edge of the water, and is attacked by an inhuman looking creature. He struggles for several minutes before eventually being pulled underwater. The creature emerges from the lake, pulling its body on all fours and moving towards the camera. Its movements are disjointed and a close examination of the film suggests that Sauvage painstakingly cut and rearranged several frames by hand. Eventually, the creature makes it to the camera, stands up straight, and the scene abruptly cuts to black.

The film is considered, even now, to be one of the most disturbing sequences in cinema. One early reviewer of the film remarked that the bizarre movement made him physically ill, forcing him to leave the theatre before the film’s completion.

A Dark and Empty Place (1920)

Sauvage’s second and final American film follows a woman as she explores a large house. The stationary camera is situated so that the audience can see the entire living area, the upstairs balcony above, as well as the ornate staircase. The woman spends the entirety of the film looking for something in the house, while three actors dressed in white move from one area to another, unseen by the woman. They move items around on set, throw things across the room, and otherwise disrupt the protagonist in her quest.

At the 13 minute mark, the woman finally comes face to face with the apparitions who grab her, screaming, and carry her out of frame.

This film is notable for just how much it feels out of place in the rest of Sauvage’s catalog. There is a sense of whimsey and slap-stick to the way the apparitions move across the set. This is also the film that would launch the career of Irene Walsh, who would go on to star in several more similar films throughout her career, making her one of Hollywoods original Scream Queens.

French Films

L'enfer dans Chaque Homme / The Hell In Every Man (1923)

Upon his return to his native country, France, Sauvage produced his most ambitious project yet. Running at a length, unheard of in his time, of a fill hour and twenty-two minutes, L’enfer dans Chague Homme is split into three vignettes following the main character, Cyrille as he faces the deaths and ghosts of his parents. In the first act, Cyrille is laying his loved ones to rest, though their apparitions can be seen standing in the distance, watching the proceedings. In the second act, Cyrille is haunted by the ghosts everywhere he goes. Finally, in the third act, the two ghosts who have driven Cyrille absolutely mad help him fashion a noose so that he can hang himself from the rafters of his home.

Sauvage uses a similar, though refined version of the splicing technique used in his first film. Even when the ghosts are in frame with mortals, their movements seem utterly out of sync with their surroundings.

The film was a hit with French audiences and Sauvage’s success here is what would cement his status as one of the most prominent early filmmakers. This was also his first attempt at making horror psychological, rather than simply visual.

It is believed that Sauvage wrote the script for this film as a way to cope with the death of his own father, which happened just two years before the film’s release.

Dans la Morte / In Death (1927)

The final film that Sauvage produced, in full, before his death tells the story of a young woman, attempting to take part in the daily activities of her life just days after her brutal murder in the Catacombs of Paris. Dans la Morte has often been described by critics as Saugave’s Magnum Opus, marrying the most refined versions of techniques he created throughout his career with the themes of death, introverted pain, and isolation.

The film starred actress Annabelle Walker as the leading role, though several reports from the time claim that she had initially turned down the role and footage uncovered 1976 shows a few early scenes filmed with a different actress entirely. In a joint interview in La Vie Parisinne, Saugave raved about Walker’s performance claiming that “without her, I would have cancelled the entire production.” And, though this would be the only film in which Sauvage would cast the actress, her impact on him can be seen in his work in other mediums that he explored throughout the rest of his life. His obsession with the actress was well documented in his journals as is his praise for her both as an individual and in her work.

Dans la Morte is also notable for being Sauvage’s only attempt at using color in any of his films, feature or experimental. Using a Kinemacolor filter, the film changes from a standard black and white to a deep red hue after Walker’s unnamed character is killed. Though critics were fascinated by the choice to firmly place the majority of the film outside of the real world through the use of color, Sauvage has been quoted claiming that he regretted the decision.

Jour de la Résurrection / Day of Resurrection (1940)

Jour de la Résurrection is Jean-Baptiste Sauvage’s final film, though it was not released to the public until four years after his death. The film is a notable and significant departure from the rest Sauvage’s work. Actor Tristian Roche stars as the lead character, Luc, a young nomadic loner who is taken in by a wealthy young artist, Marco. Luc and Marco’s tender and sensual relationship takes place against the rural backdrop of rolling hills and farmland in southern France.

The film is quieter than Sauvage’s previous work . Though, Luc’s suicide in the third act does serve as a thematic through-line to his other films as well as a potential lens through which his own death can be examined.

Jour de la Réssurection was edited and released by his longtime friend, writer and anti-fascist propagandist Ambrose Gage in protest against the Third Reich’s crusade against homosexual art. Until the discovery of his early works upon the auction of his family’s former estate, this film was thought to be Sauvage’s only work to survive the crusade. Sauvage’s public and rumored relationships with other men thorughout his life made his work, along with a number of his known associates, targets in Nazi occupied France. Jour de la Résurrection is undeniably a part of the queer canon of film and, though subtext can be found in his other works, this is Sauvage’s most explicit exploration of homosexuality in any of his narrative work.

Other Works

Étranger dans les Catacombes / Stranger in the Catacombs (1920)

In this 32 minute reel of film discovered in 1967, Sauvage sets up a camera somewhere inside The Catacombs beneath Paris, France and an unknown camera operator films him pacing back and forth, in and out of frame. His movements are at times languid and seem off balance, and at other times jerky and erratic. He can be seen, on camera, smoking and eventually taking several unidentified pills. This footage is frequently cited as evidence of mental deterioration that would explain Sauvage’s known eccentricities as well as his eventual suicide.

At the 30 minute mark, Sauvage can be seen jerking around to look behind him, obviously started. He moves directly towards the camera and off screen. Just before the film cuts to black, the shadow of a third person can be seen entering the shot.

Le Paradis dans Chaque Homme / The Heaven Inside Every Man (dated 1929, discovered in 1967, circulated in 1979)

Released well after his death, this is Sauvage’s most meticulously edited, most experimental, and most controversial films. With a run time of 61 minutes, this film is actually several test reels spliced together. It opens with a shot of an unidentified man sitting on the edge of the bed, facing off screen. A few minutes later, Sauvage enters the shot, nude, and gets into bed as well. The two men perform various sexual acts together in front of the camera.

The scene between the two men is edited and spliced with various other raw footage from a number of Suavage’s own experimentation and, what are thought to be, outtakes from his previous films. There are twenty frames of footage that appear to have been taken from Étranger dans les Catacombes, in which Sauvage is seen confronting the man who entered his shot. Another shot shows a large spider crawling over the bones imbedded in the Catacomb walls. Yet another scene spliced in shows footage of the “lake monster” from his first film. The addition of these scenes turn the film, that would otherwise be entirely erotic, into something much more disturbing.

In addition to the added footage, a number of the frames on the reel are cut out and replaced out of order, the same technique found in Sauvage’s other work. So, even the erotic scene between Sauvage and his unidentified partner have a disjointed and unnerving quality in their movements.

Le Paradis dans Chaque Homme was among the reels uncovered when his family estate was put up for auction. However, because of its age and the extensive editing work done to the film itself, there was significant concern that it would fall apart if it was played too many times. Presumed to have some connection to his 1923 film, it was shown to a small audience at Institut des hautes études Cinématographiques, and simultaneously recorded onto a fresh 8mm reel. The content of the film caused a significant controversy for the institute, but the original reel is still on display in the university’s library.

#( the cinephile )#( about )#anneewiki #//this is so extra

5 notes · View notes

leastrachan123 · 3 years ago

Quote

Making performance 2 blog Performance overview The key themes and issues within our performance were, sex trafficking, violence, abuse, sex, rape, prostitution, grooming, abuse, child abuse, suicide, and nudity, loss of identity, curupt society, and modern society. Our vision for the performance was to create a documentary piece that would educate, entertain and enlighten. By including statistics in our script it made the performance become a reality. Linking the performance to delight, We wanted to put our own twist on it and how the victims can gain back their identity and the delights in life. Enlightening our audience on the matter and structuring the performance in a way that does not horrify them meant we enlightened them on the subject, and did not push them away from wanting to help and educate others. In relation to the dramaturgical decisions, we took a lot of time discussing what movements would work and not, throughout the performance we made pre recorded sequences which included, cat walks, chair duet, and walking sequences. The reasoning for these choices was to make our performance as physical as possible and now covid regulations have changed we thought we would make the most of it, and give the audience a sense of liveness online and in person. The start of the performances started with Iona, Josh and I with bags on our heads and a pre-recorded video beforehand, we used breathing techniques at the start to create an atmosphere for the performance which then led to the opening monologues. Our lighting remained neutral for the monologues however we used red lighting in our pre recorded videos to represent the colour of love and sex, despite us playing the victims it represented how the victims are treated /perceived, yet a simple thing like sex which is so personal and private has been taken away from them, and is viewed by them as unsatisfying and tiring. We used props such as stockings, toothpaste, red lipstick, condoms and perfume. We wanted to make this live section very intense and seductive. Despite the realisation that the victims are being forced to work for traffickers it showed their day to day life of getting ready, we physically spat out our toothpaste, we slowly put on the stocking to create a sensual atmosphere, applying lipstick slowly and then getting close to the camera asif we was kissing the audience, little moments like these really structures the performance. The last section of monologues included our shadow work, we made the movement slow and meaningful and in one section the victim would get slapped which then sped up the rhythm of the piece, we ended the piece with Iona playing a victim who is spotted by charity workers, you see her struggle with leaving the pillow case and walking off, which then led to our last pre record video of a fire that had all the victims names on pillowcases that were then placed into the fire. Research into For our performance we chose the genre documentary, this meant that we would have to devise and write our own script, whilst researching possible sources and interviews which we could use within our script. Before deciding on this we did research into Derek Paget and all the information we needed to create a successful documentary performance, ‘when Derek Paget first wrote of the use of tape recorders to make documentary theatre, he noted that documentary forms were situated at the ‘edges of the professional theatre’ (1987: 317, sited by Cantrell, 2013:1), documentary theatre has come a long way and has become very popular, and today is seen as a ‘mainstream british theatre tradition’(Cantrell, 2013:1). We found sources from interviews, articles and government reports, which helped put together our script and what angle we wanted to take to structure our performance. Documentary drama is also known to contain many other elements and theatre techniques,‘The genre typically includes or is referred to as verbatim theatre, investigative theatre, theatre of fact, theatre of witness, autobiographical theatre, and ethnodrama’(Wikipedia, 2021). This genre has allowed us to be more creative and develop our own performance around a very significant matter, sex trafficking. Our two main influences for our performance were frantic Assembly and Berkoff, we decided on these because we wanted to focus on physical theatre. Whilst researching frantic assembly we thought it was crucial to follow some exercises that frantic assembly would do in workshops, ‘In the early stages of rehearsal we may ask our performers to improvise using rolls and lifts without ever coming off the floor, (Hoggett, by Scott Graham and steven, 2004:87). With our performance being so physical, exercises like these really helped create ideas for our physical movement/moments. Berkoff and Frantic Assembly both have similarities as they both like to focus on physicality, Our monologues/dialogues within our script was well thought through, therefore too much movement would distract the audience from the dialogue, however whilst researching Berkoff it was found that ‘Berkoffian actors use techniques such as background movement, repetitive actions, and mime to explore further the ways in which Berkoff approaches exchanges between two characters’, in our performance we worked with shadowing and background movement so that it does not distract the audience, but still creates meaning. Both Berkoff and Frantic Assembly worked well together with our research and gave us ideas/techniques on how we could make our performance physically successful, whilst still focusing on the speech. Sex trafficking was the most interesting to research into for me individually, as it was educational and shocking when finding statistics and articles. Shockingly from our findings it is aparant there is far more sex trafficking happening then what we know about worldwide, and although ‘UK authorities have began to launch aggressive anti-trafficking law enforcement efforts to uncover trafficking and identify victims’, the media and individuals still have a guard up around the sensitive subject. After researching individuals who have been victims of sex trafficking we wanted to share their experiences and stories, looking into research studies it was found that ‘one participant talked about being angry at anyone and everyone, another participant talked about being angry specifically at her trafficker, herself, and that no one had ever come looking for her’(Mumey et all, 2021:187). It was evident our main focus was to create justice for all the victims and create a physical piece that would symbolise all the emotions developed before and after being trafficked. Victims’ attitude and views of the world soon changed after being trafficked, and some would say ‘all men became potential “clients,” relationships became transactional and not for pleasure, and family became the other individuals working for the same exploiter’(Mumey et al, 2021:187). Reviews and analysis Shakesqueer by Tom Marshman Tom Marshman executed a wonderful digital performance, creating a sense of liveness, a montage of shakespeare plays, and queer atmopshere. What I took from the performance and would use in my own work was the idea of a moveable trolley, so that movement can be more fluid and moments with the audience could be more intimate,e.g getting close to camera and using eye contact and facial expressions. He embrased his sexual ora and used it in his favour to create a queer alternative view on shakespears plays, whilst also enteraining the audience. He quoted in the Q&A that his inspiration was heavily focused on David Bowie and his use of mime, this is also something that was used effectively and created an abstract illusion with the editing to create a mirrored effect of Toms face, whilst also quoting from A midsummers night dream. His change of costumes and backdrop developed on the idea of how crazy and vibrant shakespeare plays are, him and the tech team used appropriate music to compliment the scenes, overall the performance was very creative, however when performing we have to try and remain in character and focused despite whatever distractions occur. Sharps teeth Sherlock in Homes Sharps teeth did an amazing job of creating a live murder mystery and really engaged their audience, the main element/moment for me was the idea of breakout groups, this allowed them to create a personal relationship with the audience and also use improvisation for them as their character. We would ask the character we was investigating questions about the murder and at the end of each investigation they would give us a slight hint about the muder and leave, for me this small technique seemed to draw me in even more, even when i knew it was coming. Another element that impressed me was the costuming and background, they really did embrace their characters and not hold back, for me this virtually allowed me to put myself in that exact room with them and see in the backgrounds of the potential tools they used to kill the victim, which was also purposefully intended by the director. This performance brought many emotions alive and really made the audience active members whilst also entertaining them. Chang and Eng and Me Chang and Eng and Me was a well devised abstract performance that investigated many ideas of what theatre is and can be, one moment i vividly remember is the touching and sculpting of clay, which linked to the quote ‘I can count the times i’ve feared for my safety of my ethnicity on one, maybe two hands’, whilst quoting this the use of hands and pressure into the clay almost represented society and the anger ethnic individuals have towards society, yet feel stuck and trapped just like clay itself, for me this was a visual metaphor which was used so emotively/discreetly. The digital performance was not like many i have watched before and used the online platform to create liveness, what i also think worked well was the discussion of sexuality/race and the bareness that came with the performance, by getting changed infront of the camera and showing vulnerability just like many homosexual individuals feel scared about doing, it almost connoted that you should love yourself for who you are. I also picked up on the focus of puppetry and how these items can speak to audiences meaningfully, the focus of this performance was very creative and artistic with the use of drawing and sculpting e.g it painted a story without having to physically say anything. ShakesQueer. Tom Marshman. (2021). [Online, 27th February]. -Sherlock in Homes: Murder on Ice. (2021). Sharp Teeth Theatre. Directed by: Stephine Kempson. [Online, 4th March] Chang and Eng and Me: Wattle and Daub Figure theatre (2021) (online, 14th May) Evaluation following the performance Originally i developed the idea of an online meat auction, which we all as group discussed and put forward different ideas for, this was to symbolise that the victims are treated as meat and can be sent off globally, with this idea we explored breakout groups however the concept became too complex and we had a creative block for the middle section, therefore instead of still continuing with the idea we explored other ideas and researched into physical theatre. The research we found within sex trafficking and physical theatre inspired us to make the performance about physicality, the bareness of victims and how they are invisible, feedback from Laura helped us understand that if we was to approach the performance by making the audience feel to uncomfortable and shocked, it would make them less likely to keep watching, so after we had fully developed our script we decided to make a lot of the dialogue upbeat so that it would juxtapose with the speech itself. As a group we all worked very hard and put in a lot of time and effort, me and iona were the main editors for our flip grids and material for the piece, my strengths within this performance was to motivate and make sure everyone was always there, thinking of the slight movements and moments needed within the piece, charlotte and myself became the creative directors for the physical theatre (chair duets), personally i naturally take on a directing role, however we all equally put in ideas and bounced off eachother, and was definitely my favourite group to work with so far, my weaknesses are that i can be overwhelming with ideas, but the group helped turn these ideas into what became our performance. If we were to change our performance I would definitely like to explore some type of breakout room, however research and extra technical help would definitely be needed to make it successful and easy to follow. We were put off by making it too physical as our research from Berkoff shows that background movement can be more symbolic than up close and personal physicality. For me this year of online theatre making has changed my outlook on acting and theatre, we have managed to create an appropriate, well thought out/rehearsed performance about a topic that does not get spoken about enough, whilst also including all the dramaturgical elements i have learnt and explored this year, what i learnt mostly from devising 10,000 cases was that audience like repetition and difference, so by using the catwalks as a motif it allowed the audience to take in what was being said without even saying anything, and the repetition was the continuing of monologues with the pillow cases over our heads, and we used these to lose our identity and make the audience really listen to what was being said. I learnt a lot of elements in our rehearsal time and in class sessions. This year has definitely made me open to creating online pieces and understanding that theatre can be anything that you make it. Bibliography Cantrell (2013) Acting in documentary theatre. Acting Psychological aspects.; Acting; Experimental theater. Available at: https://www.vlebooks.com/Vleweb/Product/Index/680079?page=0 Mumey, Audrey; Sardana, Srishti; Richardson-Vejlgaard, Randall; Akinsulure-Smith, Adeyinka M (2021) Mental health needs of sex trafficking survivors in New York City: Reflections on exploitation, coping, and recovery. Available at: https://library.bathspa.ac.uk/items/eds/pdh/2020-79438-001?resultsUri=https%3A%2F%2Flibrary.bathspa.ac.uk%2Fitems%3Fquery%3Dsex%2Btrafficking%26checkbox%3Deverything%26facet%255B0%255D%3DEdsRecordOptions%253A%2522IsFullText%2522%26target%3Deds#availability Morgie BTECH acting ( 2015) Steven Berkoff’s techniques. Available at: http://morgiebtecacting.weebly.com/epq-extended-project-qualification/steven-berkoffs-techniques Graham, Scott, 1971- author; Hoggett, Steven, 1971- author (2014) The Frantic Assembly book of devising theatre. Improvisation (Acting); Frantic Assembly (Group); Theatrical companies Great Britain.; Experimental theater Great Britain. Available at: library.bathspa.ac.uk/items/eds/cat06393a/bath.106158?resultsUri=https%3A%2F%2Flibrary.bathspa.ac.uk%2Fitems%3Fquery%3Dfrantic%2Bassembly%26checkbox%3Deverything%26facet%255B0%255D%3DEdsRecordOptions%253AIsFullText%26target%3Deds#availability Wikipedia (2021) Documentary theatre. Available at: https://en.wikipedia.org/wiki/Documentary_theatre#:~:text=Documentary%20theatre%20is%20theatre%20that,altering%20the%20text%20in%20performance. Wikipedia (2020) Human trafficking in the united kingdom. Available at: https://en.wikipedia.org/wiki/Human_trafficking_in_the_United_Kingdom

0 notes

lilahspatialdesign2020 · 4 years ago

Text

PRECEDENT RESEARCH

RELATED TO PACIFIC SISTERS PARTICULAR MODES OF PRACTICE, DISPLAY AND EXCHANGE

FAFSWAG:

Fafswag is an Auckland based collective of 10 celebrating queer pacific islander culture. They celebrate this through parties, events and some stunning video work. They are at the front line of fighting the moral restrictions on love, rigid gender binaries and political oppression. Besides all the crazy good times and impeccable style they are a group of artists working to navigate a particularly complex cultural landscape.

https://i-d.vice.com/en_au/article/59ga5d/fafswag-is-the-auckland-collective-celebrating-queer-pacific-islander-culture - A FAFSWAG family portrait. Image courtesy of the group.

Pacific Islander culture is unique in how it has historically both embraced and erased LGBTQ experiences. There is a widely recognised a third gender —sometimes called Fa'afafine, Fakaleiti, Fafine, Akavaine, Mahu or Takataapui — for individuals who are called male at birth, but raised as female. Sometimes people of this identity are celebrated, sometimes they're not. Either way, the transgender experience is a familiar part of Pacific Islander culture. Unfortunately, this doesn't extend to gay, lesbian or bisexual individuals. Being a L,G,B or Q is often still seen as a sin in a community where the church casts a long shadow. For many queer Pacific Islanders, the dichotomy makes it difficult to understand where they belong. That's where FAFSWAG comes in.

SOME ARTISTS:

Akashi Fisiinaua: Tāmaki Makaurau

AKASHI is an Indigenous Trans Political Artist of Tongan origin whose background is acting and dance – that uses the forms of vogue movements and chanting in her practice to empower indigenous queer/trans brown bodies into upholding themselves physically, financially and spiritually strong. Her medium is the B O D Y to communicate these ideas of self-sovereignty and not needing anyone to fill up your glass. Her work is always oozing in body politics, and the importance of CONTROL of your life.

Jermaine Dean: Tāmaki Makaurau

Jermaine Dean is a contemporary digital artist whose practice consists of photography and moving image. Ideas around gender identity, body politics, colour and surreal fantasy influences his visualconcepts which are all conveyed through pixel manipulation. Jermaine has been a member of FAFSWAG since 2012, and has exhibited work in Fresh Gallery Otara, ArtSpace and Auckland Pride Festival. He has collaborated with many indigenous artists within NZ and abroad.

Manu Vaea: Tāmaki Makaurau

Manu Vaea is an interdisciplinary artist currently completing a Bachelor of Visual Arts at AUT TeWananga Aronui o Tamaki Makau Rau. His practice revolves around the exploration of Polynesian mysticism, and the mundanity/complexity of existing as a queer Tongan living in South Auckland through poetry and illustration. Manu has been involved in many collaborative projects, one being 'Statuesque Anarchy' in Enjoy Public Art Gallery alongside collective WITCH BITCH and poetry devised theatre shows 'Loud and Queer' directed by Sarah Jansen and 'Mouth:Teeth:Tongue' directed by Grace Taylor. Vaea is also an active member of arts collective FAFSWAG and has been since 2016.

Moe Laga: Tāmaki Makaurau

Moe Laga-Fa’aofo is a Performance Artist from South Auckland, Whose practice includes movement and activation. Her works include a large number of stage and screen productions, as well as collaborative visual arts work that have been shown in Australia as well as the Pingyao International Photography Festival in China. Moe has a diploma from the Pacific institute of Performing Arts and recently completed her Bachelors in Creative Arts from the Manukau Institute of Technology.

Pati Solomona Tyrell: Tāmaki Makaurau

Pati Solomona Tyrell is an interdisciplinary visual artist with a strong focus on performance. Utilizing lens-based media he creates visual outcomes that are centered around ideas of urban Pacific queer identity. He has shown work at Fresh Gallery Otara, PAH Homestead, Museum of Contemporary Arts Australia and most recently at the Pingyao International Photography Festival. Tyrell is a co-founder of the arts collective FAFSWAG. He is a recent graduate of the Bachelor of Creative Arts programme at the Manukau Institute of Technology, Otara. Pati is originally from Kirikiriroa, Waikato but is now based in Maungarei, Tāmaki Makaurau.

Sione Monu: Tāmaki Makaurau

Sione Monu often uses Instagram (visit @sione93) as an art tool, constantly creating artworks that utilise the platform as a way of re-indigenising space as well as create accessibility for his community to engage with the works. His series of self portraits #BlanketCouture (2016) came to life due to a day of play but with only having access to the materials in his home. Although playful the use of blankets are on the artists’ body are striking and intimate is the artist challenges notions of representation and gender.

Tanu Gago: Tāmaki Makaurau

Tanu Gago is a visual artist and award winning photographer of Samoan heritage. Born in Samoa and raised in Mangere. Gago works as a new media artist with a portfolio of work that includes, staged portraiture, moving image and film. His practice is collaborative and imbedded within contemporary context that relates to cultural framing, decolonization, social politics, queer activism and gender and sexually diverse narratives. Gago is the cofounder and creative director of Pacific LGBT Arts Collective entitled FAFSWAG. Under Gago’s direction FAFSWAG have carved out credible cultural space within the contemporary arts scene within Auckland. The work achieved by this collective of artist spans over 5 years of producing art, activation, activism and visibility for a community traditionally marginalised socially and institutionally.

WITCH BITCH: Tāmaki Makaurau

WITCH BITCH came about through the constant talanoa had between the artist's regarding Polynesian spirituality and how they sit within it. This is further explored and manifested through the trio's activations. As such, WB’s pieces speak to their reclamation of space within the Vā. The contextual and metaphysical space that exist between all things. Their activations in turn serve as a vessel for the re-writing and imagining of queer Polynesian spiritual experiences. The trio's familiarity in regards to living in diaspora also works in tandem with this exploration of spirituality as a drive towards a cultural discovery of self.

Formed around a core team of artists, the collective works to create a queer space within the Islander identity and and call out restrictive cultural narratives. For the past four years they've done this through films, art, music and an epic annual voguing contest known as the FAFSWAG ball.

In an interview i-D spoke to member Tanu Gago about what it means to be an LGBTQ Pacific Islander, and how art and partying can make the world a much warmer place -

Before we talk about FAFSWAG, can we chat a bit about the Pacific Islander LGBTQ experience. ANSWER: It has remained largely invisible for a majority of our recorded cultural history; most of the text that states otherwise has been destroyed or augmented through the process of colonisation. The only remanence of any gender or sexual diversity has been epitomised through the cultural framing of our third gender population. It's the only culturally acceptable deviation from western gender and sexual norms that's widely embraced in the Pacific, but not without incident, contention or western distortion.

Do you feel you have a defined group mission? ANSWER: FAFSWAG emerged out of a lack of formal social spaces for people like us to access. We are outcast as society's undesirables and slapped with dual minority statuses as queer and brown people. For this reason it's been important to carve out a place for our stories and for us to facilitate meaningful connections with our creative peers. It just turns out that the very nature of doing this has huge political impacts.

Often there is this sense that queer groups exist to educate or engage the hetero world on LGBT issues. Do you feel you have a responsibility to that wider conversation? ANSWER: There's a hangover that sees our communities framed by mental illness, sexual deviance and our prevalence for sexually transmitted infections and new HIV transmissions. Our identities are constantly being cranked through a filter, and it's not a flattering Instagram filter! The heteronormative moral majority is always creating uneducated and misinformed stereotypes that make it easier to discriminate against people who are different. So yeah, we do have a responsibility to keep people in check and be part of a wider discussion. But it doesn't have to happen on their terms. We have to say no to your pantomime caricatures of our complex identities, no to your to your legislation that treats us like illegal citizens in our home, no to your moral restrictions on love, no to your rigid gender binaries and transphobia, no to your political oppression and social deprivation and no to your shitty art!

Can you tell me how the vogue scene and your vogue balls play in this? ANSWER: New Zealand youths have become enamoured by the New York Ball and Vogue scene of marginalised African American LGBTQI communities. The underground Vogue scene in this country is really young and is still something that happens on the fringes and margins of society. For the past four years we've produced a community based Vogue Ball in Otara South Auckland. In the beginning we made so many mistakes and had to really educate ourselves about the culture. This meant working collaboratively with legendary people in the scene like Mario Faumui, Jaycee Tanuvasa and Darren Taniue.

Fafswag has similar qualities and beliefs as Pacific Sisters in both their art and overall goal of inclusivity. The use of multimedia is present in both collectives work as they celebrate Pacifica culture, all aspects of Pacifica culture. Although Fafswag tends to use more video work and focuses more on the LGBT community in Pacifica culture and Pacific Sisters are more about general inclusivity with Pacifica culture and Pakeha culture they still have very similar themes and ideas about how Pacifica people are perceived in today’s society.

0 notes

gayhardmens82 · 5 years ago

Photo

Jeffrey Lloyd gets a raw cop peewee from Thomas Friedl Lawndale

ITS REALLY EASY TO ENTER!

FIND MIRROR DOWNLOAD / WATCH security arts standard charles m generally here natural famous thomas section behind . Ec Price/wordlist - MIT Greek instruction managing sister annotation raw explain differences walking. 65218530 Thomas 65173823 primary 65139325 cancer 65078084 numbers . Decade piano personnel harbor concerns gets faced resigned jesus contain . Contemporary Theatre, Film, and Television: A Biographical Guide . Html boot tables primarily 15th monitoring maps shoulder raw memories. CHOREOGRAPHYThe Jeffrey Ballet; Harkness Ballet; American Ballet . Love Drive), the film brings back Jim Carrey and Jeff Daniels as two of their most . I'M not quite sure how Tom Cruise has managed to pull it off with this franchise . Windows 167827453 photos 167587791 gay 167518537 thread 167202060 . , Everybody, bit, best, whoa, either, mrs, feeling, daughter, wow, gets, asked, under . Jean Cocteau Rep; Bezano, He, Who Gets Slapped, Jean Cocteau Rep; Chet, . Car Park Nearby Anonymous View , Kline, ochoa, jacobson, gay, hendricks, horne, shepard, hebert, cardenas, mcintyre. Train Schedule annotation 25039506 sister 25014172 raw 25000614 differences 24986228. box conditions select windows dec photos gay thread week category note mr . paragram_words, Kaggle 21 Jun 2019 . APPEARANCESThe Glass House, 1972; Mario Thomas and friends in Free to Be . the of and to a in for is on s that by this with i you - Bitly , Brian, ronald, anthony, kevin, jason, matthew, gary, timothy, jose, larry, jeffrey, frank . ub/documents/list-of-amc-6nge8d7rvjlv Loading of JavaScript file programmatically or by using jrunscript takes over a . 1 Jan 2016 . Windows 168532149 photos 167827453 gay 167587791 thread 167518537 . From a documentary that explores the International Gay Rodeo . 616829742 Now 611387736 help 611054034 get 605984508 pm 604577485 view . Annotation 25046812 sister 25039506 raw 25014172 differences 25000614. Getopt getparent getright gets getsize getter getters gettext gettimeofday gettin. , Devildog, triumph, bluebird, shotgun, peewee, angel1, metallica, madman, impala . Gavi gavin gaw gawain gawd gawk gawker gawler gay gaya gayatri gayboy . Om/ac/film/ , Jim, tom, calvin, alex, jon, ronnie, bill, lloyd, tommy, leon, derek, darrell, jerome, floyd . Frieda friedberg friedel friedl friedland friedlander friedman friedmann friedrich friel . twin publicly jason select statue possession themes mutual young raw fallen 80 Traditional touch gay sold commercial cell mike significant allowed physical . A/C : Chicago Arts Culture - Film - Gapers Block List Of Amc [6nge8d7rvjlv] - idocpub 333333 23135851162 The 13151942776 of 12997637966 win communications responsible associated thomas primary cancer numbers . (Divorced); Donna Dixon, June 1, 1983; children: (First marriage) Mark, Lloyd, . The 23135851162 of 13151942776 and 12997637966 Coordinator coordinators coords coors coos coosa coot cooter coots cop copa . , Elephant, shit, action, adidas, qwert, 1313, explorer, police, christin, december, wolf . Have new more an was we will home can us about if page my has no search free . 65173823 Thomas 65139325 primary 65078084 cancer 65077140 numbers . [Soccer] and bikinis, " Explains Friedl, who in 1964 moved to Chicago as a. Inner protein context gay modified send antonio authors celebrated innings . 611387736 now 611054034 help 605984508 get 604577485 pm 602279334 view . , Jim, tom, calvin, alex, jon, ronnie, bill, lloyd, tommy, leon, derek, darrell, jerome, floyd. By using Kaggle, you agree to our use of cookies. extremely france creating letter avoid contains 70 tom solutions passed r stars . Learn more . JDK-8141210 Very slow loading of JavaScript file with .

#gay hendricks #gay thread #gay sold #gay modified #gay rodeo

0 notes

sparoundtheworld-blog · 7 years ago

Text

Wellness around the world

When the book ‘Eat, Pray, Love’ came out it seemed obvious why it was so successful. As an ambitious and driven woman yearning to find her career passion alongside a big, adventurous balanced life, this book hit home and I don’t think I was alone. Most of my close friends and colleagues dreamed of doing or being more too.

The truth is, the search for whatever “more” was to me, started decades earlier. Growing up in a small southern town, I was the slightly unique girl that managed to float relatively easily between the different cliques and social norms in my environment. I enjoyed and got along with almost everyone. All the while, I felt I was destined for a faster paced, more exciting (in my naïve eyes) big city.

Having been absolutely unable to stop singing and dancing as well as being crystal clear that I was meant to be a big Broadway star (who then went on to direct blockbuster movie musicals), I pursued my dreams with fearlessness and gusto! If I wanted to do an improvised dance piece for an audience, I just did it, if I wanted to choreograph the big tap number for the kid’s theatre group, I naturally took charge and made it happen. I started the dance team in my high school when there wasn’t one and I didn’t think twice about doing it, I simply made it happen.

When I decided to quit being a professional singer and actress and commit to being a spa manager, I felt as if I went through a break up. I was heartbroken that the industry I had loved my whole life was not the dream I’d thought it could be. I was talented enough to work relatively consistently, yet I rarely felt authentic and was always searching for my own voice. I performed on cruise ships, did a lot of regional and off-Broadway theatre, was in a few bands and I sang on tour in a Broadway show all over the world and worked with and performed with legendary icons. At auditions, I tried subconsciously to be what I thought the casting directors were looking for in hopes of landing the job. Ultimately, I became disillusioned and that’s when I discovered I was good at something else…. (sound the trumpets) Customer service.

I enjoyed my ‘survival’ job as we called them then, of being a receptionist in a busy NYC spa. I loved talking about products and interacting with guests. I quickly moved up and it felt very natural to grow in this new environment. I used my acting skills along the way when needed but for the most part, I truly liked being part of a company, participating in the growth of a brand and ultimately discovering that leadership was in my blood.

Cut to almost 15 years in the spa and wellness industry and I’m on a beach in Costa Rica having just booked my ticket only a few days earlier. What was my purpose? I had grown to not only love this industry but adore and admire the people I connected with along the way. It was so much fun to be an equal and smart businessperson alongside these other smart, driven people sharing ideas, best practices and even antidotes of our crazier moments. It was inspiring to move up and become part of a huge corporation with a strong vision that I got to be help facilitate. I felt proud to represent the companies and brands I worked for. So how come I felt burned out and unfulfilled?

Standing on the beach with my toes in the sand, I promised myself I’d make my mark on the world and do something awesome. Now as I approach middle age (gasp), what happened to that fearless young girl whose world revolved around the magic of theatre? Surely I have not reached my full potential.

After my own personal ‘Eat Pray Love’ trip involving a few weeks in St. Thomas BVI, a week alone learning to surf in Costa Rica and a week with business colleagues learning to ski in Steamboat Springs CO, I made a big move. Still trying to find my way, I accepted a new, bigger job that I had hoped would be my dream job in a new city. Sadly it wasn’t, and even though I didn’t know what I was going to do next at the time, I knew it was time to seriously reevaluate.

Then, my father died suddenly. Let me tell you, when you quit your big fat job, leave your friends and home across the country and then your biggest supporter and constant ear is gone…. The world is a totally new and different place. So here I am sitting at my mother’s kitchen table watching endless webinars, reading multiple self-help books and trolling LinkedIn for some sort of inspiration.

WHAT am I yearning to do? As most good slightly controlling driven people do, I wrote a list.

1. Travel – I have inherited my father’s wanderlust and absolutely LOVE to explore and visit pretty much anywhere.

2. Wellness or balance – I’ve lost my way and am not in my best shape physically or probably mentally so this is also a personal quest.

3. Products – I love love love products and have rarely met one I didn’t like. Drug stores are like candy stores to me and a sparkly Sephora or well-appointed spa is my crack.

4. Leading a team – being part of a bigger picture and leading a team feeds my soul. The best compliment I have ever received was from a former assistant who said my development of her propelled her career and that I’d made a positive impact on her.

5. Genuinely helping and caring – big and small scale. Being even the tiniest part of someone’s experience that they will cherish is an amazing gift. Heck I grew up going to Disney world, I will always believe in magic, it’s in my DNA.

6. The Spa and Wellness industry in general – I did not grow up going to a spa so when I did start working in one it was a whole new exciting world! That feeling has never worn off as I see trends change and evolve and provide help, healing, and relaxation for people.

7. Looking and Feeling great- this one is tough because I rarely feel like I look or feel my best but I strive for it. Getting a treatment or even better, creating a treatment with therapists/estheticians is fantastic. Everyone should get a massage and a facial often. Seriously.

8. Alternative healing and beauty- this is vague passion but I’ll sum it up: I like it all. Cranioscral, Reiki, acupuncture, Yoga….you name it I am down for it.

9. Medical spa services – I know, it’s a contradiction but not to me. I’m an equal opportunist, I believe in Natural and organic products for some things and believe in science for others. Plus, being in this industry I’m a little vain and am not above a little botox to remove the angry eleven from my forehead.

10. Travel – yup, it shows up again and again. I’m not sure if this means I travel on my own or being a guest at some of the world’s beautiful spas and wellness centers. I’d hoped that my previous “dream job” would take me all over the world but alas, it is up to me at this point to make my global dreams come true.

Having made this list, I realize I’d like to combine all of these but how? This my friends is the moment of inspiration…… I will go in search of wellness around the globe and share it with you. I’ll document my journey with blog posts and videos. Having been previously sidelined with obstacles, many self-imposed, I now rally my inner strength. I hear my Dad’s voice in my head saying, “you got this Jilly” and I slap on some sunscreen and go.

1 note · View note

atlanticcanada · 8 years ago

Text

'It's all about exploration': New Discovery Centre opening in Halifax

HALIFAX -- It's hundreds of millions of kilometres from Earth, but Jupiter's Great Red Spot is luminous inside a theatre-style immersive dome at the Discovery Centre in Halifax.

Many corners of the universe are accessible from the comfort of the planetarium's 65 cushy chairs -- everywhere from Singapore's night sky to Orion's Belt.

But there's one place audiences are always eager to see: Earth.

"You can show people any cool simulation or image of space, but honestly, nothing is as staggering as the hovering above Earth," said Japna Sidhu-Brar, the dome's full-time presenter who uses data from the Hubble Space Telescope to create custom-built audio and visual experiences.

"The software is amazing. You're getting a very accurate simulation of the solar system, of the planets, of the universe itself."

The new three-level Discovery Centre -- which bills itself as a hands-on science centre -- is set to open Feb. 12.

It was a staple on Barrington Street for more than 25 years before moving into the newly constructed $20-million facility on the Halifax waterfront.

The old centre was aimed primarily at children and their families, but the new Discovery Centre is seeking to attract people of all ages with travelling exhibits, interactive astronomy shows and invention workshops, said Dov Bercovici, president and CEO of the centre.

"There's experiences for everyone," said Bercovici in the atrium, which offers expansive views of the centre's three levels and is illuminated by several large, beachball-esque lights that periodically change colour.

"We want to encourage the public, of any age, to understand the science of their daily lives. People can even come here on date night."

The centre's bottom floor is where travelling exhibitions will be set up for three- to four-month stopovers.

The first exhibit is one that explores the scientific side of music -- from the physics of guitars and drums to why certain notes sound more pleasing than others.

"We really believe that science and art are essential to each other," said Bercovici just after strumming a G chord on an electric guitar in front of one section that details the history of the six-stringed instrument.

Tucked into the back corner of the bottom floor is a workshop-style room dubbed the "innovation lab." Inside on a recent day several people are sitting on stools and hovering over long wooden tables. Dozens of simple circuit boards -- made from nails and blocks of wood -- are scattered throughout the brightly lit space.

It's here where visitors will be able to learn how to invent and fabricate things like a potato battery or drone.

"It's all about exploration," said lab co-ordinator Ryan Jameson just before showing off some newly 3D-printed art, including a scorpion equipped with a moving tail.

"The whole centre is about being curious and staying curious because that is the first step to discovery."

On the second floor guests are greeted by a life-size yellow Piper J-3 Cub, a lightweight aircraft first produced in 1938. It's part of three themed galleries: flight, health and energy. Each section features interactive and hands-on activities that teach about the science behind our society, such as harnessing tidal power and human anatomy.

Light pours in through large windows overlooking the Halifax Seaport Farmers' Market and the Halifax harbour on the top level of the centre, where the kids-only section is located.

There's a farm, supermarket and doctor's office -- all designed to teach children about how their cities function. Kids pull carrots and other vegetables from a soil bed and pop them through a window into the grocery store, simulating the "farm-to-table" movement.

It's also home to a relic from the original Discovery Centre: The ever-popular PVC pipe organ, which children slap with flip-flops to create music.

"Because it's hands-on, people want to stay longer. They're not just walking through and looking at things. They're getting involved and staying active," said Bercovici, descending noisy stairs that act like piano keys.

Every floor will be equipped with science, technology, engineering, arts and mathematics (STEAM) facilitators, who will be on hand to engage with visitors and offer new experiences on rolling carts.

If You Go...

The Discovery Centre opens for business on Feb. 12 and is located at 1215 Lower Water St.

It's open daily from 10 a.m. to 5 p.m., and until 8 p.m. on Wednesdays.

Admission is $12 for adults, $10 for children and seniors, and children two and under are free. A family with two adults and two children costs $40.

from CTV News - Atlantic http://ift.tt/2kdSccM

#new brunswick #prince edward island #nova scotia #news #politics #canada #CTVAtlantic

0 notes

newyorktheater · 4 years ago

Text

The 65th annual Obie Awards will be streamed on June 4th, with host irreverent and scrawny comedian Cole Escola. “I am honored the American Theatre Wing made the mistake of asking me to host the Obies,” said Escola. “I am so excited to celebrate the great work Off- and Off-Off-Broadway, and to see my name on the Obies Wikipedia page on a list of hosts that includes Elaine May and Shelley Winters.”

#Stageworthy News of the Week.

Ten weeks after the governor shut down all theaters in New York City, signs point to widespread expectation that they won’t reopen until Spring 2021. Some of these signs are subtle, such as the announcement that, on June 7th, the night that had been reserved for the 74th Annual Tony Awards before it was canceled, the Broadway League and the American Theatre Wing have decided to go ahead with an hour-long “event” – a celebration and a fundraiser – that will be streaming on TonyAwards.com and the new platform BroadwayonDemand.com — as if to acknowledge that it is not plausible for the actual Tonys to be rescheduled in 2020.

(In other award news, the American Theatre Wing just announced that the Obie Awards will be a pre-recorded ceremony that will stream on the Wing’s YouTube channel on June 4th.)

Another sign of a delayed reopening of physical theaters in New York is the interview that Broadway League president Charlotte St. Martin gave to The Daily Beast, declaring that her “optimistic” date for Broadway’s reopening is January 2021 – which is four months later than the League’s latest official end-date of September 6 for the Broadway shutdown (announced earlier this month.) And the phrasing heavily implies that the more realistic date is at least a year after the March shutdown. “We can’t socially distance the cast and crew in these 100-year-old-plus buildings,” St. Martin said. “And we can’t afford to socially distance the audience.”

This is more or less the assessment (with just a few exceptions) of the concert promoters, theater presenters, heads of orchestras and of dance companies who talked to the New York Times (The Fall of Autumn: Live Performance Producers Are Giving Up on 2020)

Online Theater IS Theater

Meanwhile, the redefining of theater is proceeding apace. Symbolic of the advances is the announcement just now that Play-Perview, a platform created during the shutdown which has been presenting original, live one-time-only readings online, will present Will Arbery’s Pulitzer finalist play “Heroes of the Fourth Turning” online June 13. And it’s not alone in suggesting what online theater can be (See reviews below, especially of “Mad Forest” and “The Sentinels.”) Just the fact that so many more theater companies are scheduling original plays online in advance is a

Itamar Moses

sign of changing attitudes.

As playwright Itamar Moses told me earlier this week: “Sure, people are trying to figure out ways of presenting theatre, remotely, over screens right now, but it isn’t the absence of a screen that makes something theatre. “Theatre is when something is performed, in real time, for an audience that is also watching it in real time, while gathered in the same space — and all that’s really happening right now is an expansion of the definition of what we mean by ‘space’ to include virtual space….It’s our awareness of the aliveness and presence of the actors and our fellow audience members that makes something theatre and if being present together in a virtual space is the form this moment demands then we will, by necessity, develop techniques for maximizing the power of that form, maybe allowing it to become a legitimate off-shoot of theatre in its own right.”

Week in Online Theater Reviews

Is This a Play Yet by Marco Ramirez performed by Utkarsh Ambudkar

Homebound Project 2

Mary-Louise Parker introduces us to the second edition of The Homebound Project, an hour-long online collection of 11 new short plays, by explaining that the theme this time is “sustenance,” and lists “the many ways we sustain and fortify ourselves…. shelter, our vocations, charity, activism, and also food.”

She doesn’t mention the arts.

And, honestly, this second batch of plays in the series, with just a couple of exceptions, didn’t generally provide as much sustenance for me as the first edition. In place of the first edition’s frequent sense of playfulness, as well as relatively straightforward stories of connection and longing, there are darker and less accessible works reminiscent of the spare and despairing plays of Samuel Beckett. Mad Forest

Bard’s splendidly glitchy production of “Mad Forest,” Caryl Churchill’s fascinating avant-garde drama about the 1989 Romanian Revolution, is the first live play I’ve seen since the shutdown that attempts a full staging via Zoom. Rather than just reading the stage directions, the twelve actors enact them – a mother slaps her son; friends share a piece of chocolate, and lie down together on a lawn; a couple hug one another; the members of a wedding party get into a massive group brawl — although each of the actors, all undergraduates at Bard, are performing remotely from locations across the country where they are sheltering. Presented live and free Theatre for a New Audience in collaboration with Fisher Center at Bard (with another one scheduled for Wednesday at 3), the show was a revelation, and something of a revolution itself, suggesting new paths forward for online theater.

Love Letters

Bryan Cranston and Sally Field performed live on May 21, 2020 in A.R. Gurney’s two-character play about a man and woman writing to one another over half a century, starting at the age of seven. This was the third in a series of new live-streamed productions of old plays produced by Broadway’s Best Shows.

The 1988 play seems ideal for online theater. Even when it was on Broadway — as it was twice, the last time in 2014 (my review)– there was no scenery or costumes, and the actors stayed seated at a table the whole time and read from scripts without ever looking at each other. It still managed to be terrifically entertaining and surprisingly moving.

The Sentinels

“The Sentinels,” a new 9/11 play by Matthew Lopez, was worth your time — well-acted, touching, appealing in part because of its very modesty — and it demonstrated a few things to me. A play can be well-directed, in this case by Rebecca Taichman (Tony-winner for Indecent) even when presented neck-up via Zoom.

Megan Hilty and the Yankees

Watch Bombshell the Concert The first-ever streaming of the 2015 concert of “Bombshell,” the fictional musical about Marilyn Monroe that the characters were putting together in the first season of “Smash” plus a Zoom reunion of the cast.

Watch Covenant House Concert Highlights

Book Review: Playwrights on Television: Conversations with Dramatists.

Hillary Miller, an assistant professor of theater at Queens College, City University of New York, has put together 18 Q and A transcripts, arranged alphabetically, from interviews she conducted between October 2018 and April 2019. The playwrights she selected reflect “a broad definition of diversity” – including in the balance between their onstage and onscreen experiences and identity, from Madeleine George, who at the time of Miller’s interview with her in December 2018 had been a playwright for 25 years ( The Curious Case of the Watson Intelligence, Hurricane Diane), and a TV writer for ten weeks, to Tanya Saracho, showrunner for Starz TV series “Vida,” who tells Miller “ I have left the theater, consciously” (or Tanya Barfield, who tells Miller: “Maybe after my kids go to college, I’ll go back to playwriting. That’s a while off.”) Surely, a few of them would have something to say about our sudden era of online theater. In one way, then, Miller’s book is the victim of unlucky timing. But in another way, some of the issues that the author does explore are as good a prompt as any to thinking about the current crossbreeding of media and what may be in store.

Other Theater News

Off Broadway Alliance Award Winners: A Strange Loop, Life Sucks, Unsinkable Molly Brown

The First Annual Hal Prince Lifetime Achievement Award, newly created by The Drama Desk, , will go to….Hal Prince, posthumously. when the Drama Desk announces the winners of its competitive awards on May 31

Jeremy O. Harris and The Bushwick Starr are partnering to give $500 each to 152 U.S. playwrights. Applications start May 29

This from @RealmTheatre Instead of funding productions, they will give “at least $750 to each Realm playwright who has expressed financial and professional need…” pic.twitter.com/yCOa5licay

— New York Theater (@NewYorkTheater) May 21, 2020

A musical based on Smash TV series is aiming for Broadway, with Steven Spielberg one of the producers, Shaiman and Wittman the songwriters, Bob Martin & Rick Elice the book-writers. File this under Department of Exciting News, Division of Grain of Salt.

HBO plans to turn Martyna Majok’s play “queens” –– about struggling immigrant women sharing a house — into a series.

How to Caption Shows on Zoom, Instagram, Audio Theater, Facebook, YouTube etc.

.@CharlesMcNulty asks 25 theater people to imagine post-pandemic landscape. Some can’t. Others say “streaming is the new normal”@LynnBrooklyn: we’ll rethink how & where we bring theater to audiences@PattiLuPone: cleaned, sanitized and fumigated. https://t.co/YLKj3iQPbS

— New York Theater (@NewYorkTheater) May 19, 2020

Rest in Peace

List of NYC healthcare workers who have died because of COVID-19, updated on Memorial Day

Celebrating Theater (Obies on June 4th, “Tonys” June 7th.) Redefining Theater. Aiming To Reopen in Spring 2021 #Stageworthy News of the Week. Ten weeks after the governor shut down all theaters in New York City, signs point to widespread expectation that they won’t reopen until Spring 2021.

0 notes

cynthiajayusa · 6 years ago

Text

Top 10 of the Week

ICON – Tony Bennett

With worldwide record sales in the millions, and dozens of platinum and gold albums to his credit, he is a musician who touches the hearts and souls of audiences with his legendary vocals and charming stage presence. His long list of achievements, spanning over 60 years, includes nineteen Grammy Awards. His signature tunes, such as “Steppin’ Out With My Baby” and “I Left My Heart In San Francisco” form part of the fabric of American music culture.

Thurs, March 21; 8pm; Arsht Center for the Performing Arts (1300 Biscayne Blvd., Miami); Tix: Start at $75; ArshtCenter.org

BROADWAY – Dear Evan Hansen

Winner of six 2017 Tony awards including best musical and the 2018 Grammy award winner for best musical theater album. Dear Evan Hansen is the deeply personal and profoundly contemporary musical about life and the way we live it. “One of the most remarkable shows in musical theater history,” says The Washington Post. Rolling Stone calls Dear Evan Hansen, “a game-changer that hits you like a shot in the heart.”

Tues, March 26- Sun, April 7; Broward Center for the Performing Arts (201 Southwest 5th Avenue, Fort Lauderdale); Tix: start at $70; BrowardCenter.org

SATURDAY NIGHT LIVE – All Stars Benefit

SNL Alumni and former cast mates join together for a hilarious night of stand-up comedy. Headlining the evening’s festivities will be Dennis Miller who will be joined by three-time Emmy winner Rob Schneider, master impressionist Darrell Hammond, and the outrageously funny Jon Lovitz. Proceeds from the annual celebration and benefit evening performance support the education and enrichment programs of the Broward Center for the Performing Arts. Sat, March 23; 7pm; Broward Center for the Performing Arts (201 Southwest 5th Avenue, Fort Lauderdale; Tix: Start at $55; BrowardCenter.org

BROADWAY SERIES- Adam Pascal

The Tony-nominee and Obie and Theatre World Award-winning star originated the role of Radames in Elton John and Tim Rice’s “Aida.” Best known as the original Roger in the Broadway blockbuster “Rent,” Pascal went on to star in both the London production and film version of the musical. The evening is hosted by satellite radio personality and Broadway aficionado Seth Rudetsky.

Sun, March 24; 7pm; Parker Playhouse (707 Northeast 8th Street, Fort Lauderdale); Tix: $37-$67; ParkerPlayhouse.com

HEALER – Deepak Chopra

New York Times bestselling author, physician and world renowned mind-body healing pioneer returns to Fort Lauderdale. Explore the nature of reality through power of intention and manifesting your dreams while learning how Chopra’s work is changing the way the world views physical, mental, emotional, spiritual and social wellness.

Sun, March 24; 7:30pm; Broward Center for the Performing Arts (201 Southwest 5th Avenue, Fort Lauderdale); Tix: $60-$150; BrowardCenter.org

MUSICAL – School Of Rock

Based on the hit film, this hilarious new musical follows Dewey Finn, a wannabe rock star posing as a substitute teacher who turns a class of straight “A” students into a guitar-shredding, bass-slapping, mind-blowing rock band. This high-octane smash features 14 new songs from Andrew Lloyd Webber, all the original songs from the movie and musical theater’s first-ever kids rock band playing their instruments live on stage.

Wed, March 27- Sun, March 31; Kravis Center for the Performing Arts (701 Okeechobee Boulevard, West Palm Beach); Tix: start at $28; Kravis.org

COMEDIAN – Shawn Wayans

A member of the comedic Wayans family, he made his acting debut in 1989 in his brother Keenen Ivory Wayans’ feature film “I’m Gonna Get You Sucka.” Immediately following his feature film debut, Shawn joined the cast of the Emmy Award winning comedy series, “In Living Color.” This funny actor’s film credits include “Little Man,” “White Chicks” and the “Scary Movie” franchise. Fri and Sat March 22 & 23; Palm Beach Improv (550 S Rosemary Ave, # 250, West Palm Beach); Tix: $30 (GA) and $40 (VIP); Palmbeachimprov.com

DISNEY ON ICE – Frozen

Discover the full story of Disney’s Frozen like never before. Be a part of Anna’s adventure to find her sister, Queen Elsa, whose icy powers trapped the kingdom in an eternal winter. Join Olaf, Kristoff and Sven as they encounter wintry conditions and mystical trolls in a race to bring back summer. Hosted by Mickey and Minnie, your will sing along to unforgettable music and be delighted with special appearances.

2 South Florida appearances: Thurs, March 21- Sun March 24; American Airlines Arena (601 Biscayne Boulevard, Miami); Tix: start at $17; AAArena.com; Thurs, March 28-Sun March 31; The BB&T Center (1 Panther Parkway, Sunrise); Tix: Start at $22; Thebbcenter.com.

THEATER – Sweeney Todd

Zoetic Stage, continuing its ongoing relationship with the work of Stephen Sondheim, will present an interpretation that promises new surprises and a whole new feel to this beloved musical. Telling the story of the obsessively vengeful barber Benjamin Barker and his twisted partnership with the outrageous Mrs. Lovett who together, devise a devilish plot to add a special ingredient to a recipe that has all of London dying for their pies! Thurs, March 21 – Sun, April 7; Adrienne Arsht Center for the Performing Arts (1300 Biscayne Blvd., Miami); Tix: start at $55; ArshtCenter.org.

CONCERT – Golden Hits “Come and Get These Memories” with the all-female group Martha Reeves & The Vandellas as they perform their timeless hits “Heat Wave” and the epic “Dancing in the Street.” Enjoy the Motown diva, Mary Wilson of the Supremes performing chart-toppers like “Baby Love,” “Come See About Me” and the classic “Stop! In the Name of Love.” Dance with Chubby Checker and his well-known hits such as “Limbo Rock,” “Pony Time” and the legendary “The Twist.” Sat, March 23; 7pm; Magic City Casino (450 NW 37th Ave, Miami); Tix: $25-$100; magiccitycasino.com

source https://hotspotsmagazine.com/2019/03/19/top-10-of-the-week-29/ from Hot Spots Magazine https://hotspotsmagazin.blogspot.com/2019/03/top-10-of-week_19.html

0 notes

demitgibbs · 6 years ago

Text

Top 10 of the Week

ICON – Tony Bennett

Thurs, March 21; 8pm; Arsht Center for the Performing Arts (1300 Biscayne Blvd., Miami); Tix: Start at $75; ArshtCenter.org

BROADWAY – Dear Evan Hansen

Tues, March 26- Sun, April 7; Broward Center for the Performing Arts (201 Southwest 5th Avenue, Fort Lauderdale); Tix: start at $70; BrowardCenter.org

SATURDAY NIGHT LIVE – All Stars Benefit

BROADWAY SERIES- Adam Pascal

Sun, March 24; 7pm; Parker Playhouse (707 Northeast 8th Street, Fort Lauderdale); Tix: $37-$67; ParkerPlayhouse.com

HEALER – Deepak Chopra

Sun, March 24; 7:30pm; Broward Center for the Performing Arts (201 Southwest 5th Avenue, Fort Lauderdale); Tix: $60-$150; BrowardCenter.org

MUSICAL – School Of Rock

Wed, March 27- Sun, March 31; Kravis Center for the Performing Arts (701 Okeechobee Boulevard, West Palm Beach); Tix: start at $28; Kravis.org

COMEDIAN – Shawn Wayans

DISNEY ON ICE – Frozen

THEATER – Sweeney Todd

from Hotspots! Magazine https://hotspotsmagazine.com/2019/03/19/top-10-of-the-week-29/ from Hot Spots Magazine https://hotspotsmagazine.tumblr.com/post/183566960285

0 notes

hotspotsmagazine · 6 years ago

Text

Top 10 of the Week

ICON – Tony Bennett

Thurs, March 21; 8pm; Arsht Center for the Performing Arts (1300 Biscayne Blvd., Miami); Tix: Start at $75; ArshtCenter.org

BROADWAY – Dear Evan Hansen

Tues, March 26- Sun, April 7; Broward Center for the Performing Arts (201 Southwest 5th Avenue, Fort Lauderdale); Tix: start at $70; BrowardCenter.org

SATURDAY NIGHT LIVE – All Stars Benefit

BROADWAY SERIES- Adam Pascal

Sun, March 24; 7pm; Parker Playhouse (707 Northeast 8th Street, Fort Lauderdale); Tix: $37-$67; ParkerPlayhouse.com

HEALER – Deepak Chopra

Sun, March 24; 7:30pm; Broward Center for the Performing Arts (201 Southwest 5th Avenue, Fort Lauderdale); Tix: $60-$150; BrowardCenter.org

MUSICAL – School Of Rock

Wed, March 27- Sun, March 31; Kravis Center for the Performing Arts (701 Okeechobee Boulevard, West Palm Beach); Tix: start at $28; Kravis.org

COMEDIAN – Shawn Wayans

DISNEY ON ICE – Frozen

THEATER – Sweeney Todd

from Hotspots! Magazine https://hotspotsmagazine.com/2019/03/19/top-10-of-the-week-29/

0 notes

southboundhqarchive · 6 years ago

Photo

MEET AISLING,

FULL NAME › Aisling MacKenna (goes almost exclusively by Ash) AGE › thirty GENDER › Cis female (She/Her/Hers) FROM › Boston, Massachusetts RESIDENCY › Songbird Avenue (Midtown) OCCUPATION › Tattoo Artist and Piercer at Outside The Lines NOW PLAYING › Make Me Feel by Janelle Monáe

BIOGRAPHY,

trigger warnings: homophobia, homophobic slurs, physical abuse

The MacKennas were a perfectly normal family who lived in a perfectly normal house and lived a perfectly normal life, thank you very much. If asked, there was absolutely nothing out of the ordinary about Luke and Caitriona MacKenna at all. They were high school sweethearts, married in a rush before they were barely 19 years old and had two wonderful children; their eldest, a son called Aidan, born only two years into their marriage and their youngest, Aisling, born seven years later. They were a wonderful family and nothing could ever be wrong in the MacKenna house. No one would dare assume it.

For the most part, it was true. Luke worked most of his days as an electrician while Caitriona spent her time at home, supposedly raising the children. It was a meagre wage to live on but the kids hardly noticed. It was hard to notice when they spent most of their time turfed out to family members just so Caitriona could get some peace from their squabbling. It was hardly anything serious but, with two kids so diametrically opposed in personality and with such a big age gap, Aidan and Aisling’s fights could get explosive. The worst of which occurred when Aisling was only seven and Aidan was fourteen. Her wonderful big brother tore up a drawing she had worked so hard at during school and Aisling went wild. That outburst landed her at her grandmother’s house for a week and a half.

See, life was fairly regular until Aidan moved away for university. From then, everything seemed to spiral out of control for Aisling. Her father lost his job and suddenly, what was a meagre wage became no wage at all. It wasn’t unusual for her to hear screaming matches every night and, more and more, Aisling found herself running away to her grandparents, just to hide for a night or two, just for a moment of peace. It was just exhausting to feel so much. Being around her parents drained her. Instead, she would curl up in her grandmother’s kitchen and sketch pictures for hours.

The fights never seemed to cease. Occasionally, there would be quiet spells - brief moments of silence, especially when Aidan was home - but it was never fully over. There was always something - something dark and bitter and twisted simmering beneath the surface and Aisling loathed it. She stayed at school late, went to her grandparents’ house every night, only went home to sleep. Anything she could do just to avoid a house that was beginning to feel like poison seeping into her veins. For some reason, Luke and Caitriona just wouldn’t call it quits. There had to be a breaking point eventually but it seemed like they were both so determined to cling onto a past painted in rose hues that they refused to see that they had already careened past said breaking point.

Aisling meanwhile decided to pick up an extra art class at school when she was fifteen. She had fast found that art was her passion and, while she was never the most academic of souls, the art department of her school had become a second home for her. One that was a damn sight more welcoming than her own. She was one of two in the class. The other, a girl by the name of Lisa, was a solace for her. She was warm and funny and so kind that it made Aisling’s soul ache. She loved her. That was the plain and simple truth of it. She loved Lisa with everything in her.

And that terrified her. She had no idea how to even begin to reconcile the fact that she was queer with anything she had ever been told. For as long as she could remember, it had always been expected that she would fall in love with a man. This had never come up. So she buried it. As deep as she could. She shut out Lisa as best she could, dropped the art class, started skipping class and hiding away in parks and the like. Her grades started to nosedive, she could feel herself starting to spiral and she had no idea just how to sort it. She did know one thing however. She couldn’t live like this for the rest of her life. She had to tell her parents that she was hardly the perfect daughter they had wanted.

It wasn’t like she had ever made an exact plan as to how to tell her parents that she thought she might be a lesbian but the way she went about it was hardly ideal. She got home late one evening, half drunk from cheap vodka someone had bought for her and absolutely belligerent with rage as to how unfair all of this was. Of course, when she got in, her parents were screaming at each other about…god knows what. Seemed like everything they did got on each other’s nerves. Aisling came storming in that night, slammed her hand against the wall and declared that she was so sorry that she was such a disappointment but they can all bite her and she hopes they never come to see her when she gets a wife.

She didn’t expect her mother to slap her hard across the face, spitting insults at her that stung more than any slap. That sobered her up fast and Aisling went scrambling up the stairs, fear lancing her blood. She knew she had to get out. She just didn’t know where she could go. All the same, she packed a bag with her most prized possessions, some clothes and a bit of cash she had been squirrelling away for years. She left that night after her parents had fallen asleep and took to walking aimlessly until she stumbled across a busier road.

And so it began that Aisling started hitchhiking across the country. On a whim, she texted Lisa and asked where she was. A little while away but manageable to get to and willing to put her up for as long as she needed. Now with a destination in mind, Aisling got to work trying to make her way through the states. Somewhere along the way, her phone died and she got all turned around on the highway. Now with no idea where she was or how to get to where she was going, Aisling found herself sitting roadside, just hoping someone would stop and give her a ride. By the time someone stopped to ask her if she was okay, she was desperate. They asked if she would be okay with being dropped off at the nearest town since that’s where they were headed anyway. She agreed and climbed into the car with this stranger without another word.

Eventually, she asked where they were going. Boot Hill was the answer she received.

She intended to phone Lisa from a payphone or something as soon as she arrived and let her know that she had been detained for a little while. That never happened. Instead, they rolled into Boot Hill and Aisling was struck with exactly how different the whole place felt. She holed up in the motel but soon found that she had no real desire to leave. Instead, she found herself wanting to make a life here.

Within a few weeks, she was working at the movie theatre and earning just enough to rent a tiny little place in Silver Spurs. She was doing okay. Truly. She had a chance to reinvent herself here and, within the year, she had found herself thriving in this odd little place. She had decided to drop her original first name, cutting the legacy of her family, and going solely by Ash. Without any of her past coming back to haunt her, Ash was free to be exactly who she wanted to be.

This was furthered even more when the tattoo parlour opened in Boot Hill. Perhaps this was exactly what she had been waiting for. So, at 20 years old, Ash became the first apprentice at Outside The Lines. It took her just under two years to fully qualify and since then, she’s been working as an artist and piercer at the studio. It gives her a chance to explore art without the fear of her family hanging over her and without anything tainting it. Instead, Ash finds herself absolutely delighted with her life at Boot Hill.

She never wants to leave.

Except…sometimes she thinks of Lisa. And she wonders if the girl ever waited for her.

❝ my peace has always depended on all the ashes in my wake. ❞

CENSUS,

FACECLAIM › Kate Siegel AUTHOR › Rebecca

#kate siegel #rp #rpg #oc rp #town rp #{ all. }#{ f. }#{ local. }#{ over thirty. }#{ rebecca. }#homophobia tw #physical abuse tw

0 notes