#mooney on theatre

[goblinpuppy35]

Out of Place Together

University Remus x Male Reader

(Previous Chapter) - Part 5 - (Next Chapter)

Summary: An academia-core themed story about the Marauders during their final year of university in the Muggle world. Soon after meeting each other  Remus begins to fall for one of Sirius' friends Y/N another shy student.

CW: Description of toxic relationships.

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As his eyes reopened gradually  after being closed for what felt like an entire season, Remus automatically started to follow the swirling patterns of his bedrooms ceiling. After several minutes without warming his mind sharply recalled that morning, he tried to sit upwards. A low guttural groan of pain escaped between his greeted teeth as he clutched his chest and sunk back into the mattress. "Take it easy buddy" came a familiar voice from the doorway. Slowly turning his head Remus met the kind eyes of James, who was leaning against doorframe, cleaning his glasses with the end of his shirt. It was the only time of the month which James seemed to tower over his dear friend. "This one was pretty bad then?" Remus sighed, under the sheets his was carefully tracing all the new cuts over his body with his fingertips, hissing when he came in contact with raw flesh. "Yeah, you really freaked us out for a moment. Fortunately Y/N was here. He seemed to calm you down". Hearing Y/Ns name sent a pulsation across Remus' brain and he could suddenly remember the sound of Y/N's low voice, nervously but steadily telling him a story. Y/N's words hovered over the sound of the water rippling against the bathtub. Remus couldn't recall any visuals from this flashback however he knew he felt Y/N close by to him and with that a strong sense of tranquillity.

"Where is he?" Remus asked hoarsely, "Once you fell asleep in the bath we got you into bed and Sirius offered to walk Y/N to the theatre. I think he was stunned by the whole thing and didn't want to leave but I told him I'd be here all day to keep an eye on you". Another groan came from Remus' bed, it's tone was one more of embarrassment then discomfort, "Do you think I've blown it?" Remus' brow folded in on itself as his rubbed the bridge of his nose, "on the contrary" James mused putting his glasses back on as he started to leave the room. "And no leaving bed until at least this time tomorrow! We are all going to the pub after Y/N's final show so you can see him then. For now. Rest Mooney!". While James' voice faded down the stairs Remus eyes returned to the ceiling. Motionless he stared upwards, each breath he took was deep and strenuous. His mind would not sise from focusing on Y/N. 

In his broken state Remus would have gained some solace if he'd known across the city, Y/N was equally staring upwards and thinking of him. Though Y/N was staring up at the afternoon sky, his back against the theatres outer wall, taking long methodical drags from his cigarette. Sirius had left about an hour ago, they had walked through the park and talked through what happened that morning. Y/N also clued Sirius in on the night he stayed over in Remus' bed, how Remus confessed to being a werewolf then and Y/N had said it didn't scare him. "And what about now?" Sirius asked earnestly as they strolled side by side, crushing fallen leaves under their boots. Like the last time Y/N processed the question momentarily before answering honestly. "No. I'm not scared. It's a lot but I'm not afraid of him. I just hate the idea of him getting hurt that badly", Y/N fiddled with the straps of his bag as he thought back to Remus' face. Somehow the memory of Remus smiling at him on the stairs and Remus semi unconscious and covered in blood were blurring into one hazy image in his mind. 

Sirius informed him that it would be unlikely for Remus to be up and about again for a couple of days but promised him they would look after him. Y/N believed this without a doubt and after reaching the theatre gave his friend a long hug before saying goodbye. The performance went by without a hitch. Taking the last bus home that night, Y/N's eyes looked out passed all the streetlights, moving cars and specs of rain against the window, he only saw Remus' tall, fragile and yet so handsome figure. Pressing his face against the glass Y/N left out his own embarrassed sigh. He knew he was truly fucked. He had planned to never feel this way about anyone ever again.

The next night was the final performance of the week and as all the actors did their final bow on stage and the lights faded Y/N felt the stressed of the show week detach from him and flouted away. As he turned on the house lights and peered down at the audience from the box he was pleased to pick out the faces of Sirius and Lily, waving up towards him and miming downing pints. Grinning Y/N quickly collected his things. Finally regaining  his small amount of social life Y/N couldn't help but keep smiling as they walked down the night filled street.

Although walking through the large wooden pubs door Y/N did feel a twinge of disappointment when after scanning the whole floorplan he couldn't see a single sign of Remus or James being there. Seeing the obvious look on Y/N's face Sirius squeezed his hand lighting "it's okay. I'm sure they will come by later. He was doing a lot better this morning. Now. What are you having?". An enjoyable hour passed between the three of them and after two pints in they were becoming the loudest table in the pub, laughing at their own silly jokes until the front doors swung open and an even louder pair of clearly more intoxicated man stumbled inside. One raced to the bar and then bashed into the oak frame as if it was the only way of halting his own momentum, while the other set eyes on striding wobbly towards the groups table. It was Peter. "Alright Guys!" he slurred out and each member of the group replied with a stiff greeting back. Peter dropped and slid down the booths seat next to Sirius. Y/N was sitting opposite to Peter now, he could perfectly see how blood shot and dilated his eyes looked. The atmosphere around the table clouded over as Peter began to retell the night he was having at an uncomfortable speed. Everyone's engagement with the conversation had the same feeling of indulging a stranger's story who you just met at the bus stop after 2am in the morning. The amount of sniffing and nose rubbing which Peter was doing through made Y/N, Lily and Sirius all exchange knowing looks between one another. 

"And that's when I was about to tell this guy" Peter was rattling on and then somehow he managed to interrupt himself "Heyo! Here he comes!" in a obnoxious jeer he called out towards the figure from before how was striding towards their table with two tall pints pressed between his fingers. As he smashed them down on the table half of the contents spilled, soaking Lily's purse which she picked up and started to clean in frustration. "Bartender took fucking ages. Don't know why you come to this shit hole" the blunt tone of the man's voice sent a strong plummeting feeling down Y/N's spine and embedded itself deep inside his stomach. Slowly he looked up and unexpectedly met the eyes of the man.

Red. Red was all Y/N could see. Oh no. "This is my mate Ollie" Peter announced. No. No. No. Another sharp flash of red came across Y/Ns inner mind which lingered in his head for the next few minutes as Ollie, sat down heavily next to Peter and started to dominate the conversation. He didn't acknowledge Y/Ns existence any further then that first fleeting gaze. Lily and Sirius awkwardly smiled and politely showed an phoned in interest while Y/N sat fixed in place, his eyes hovering where Ollie's pint glass was, his fingers clenched around it's neck tight. 'He can't be here. Not now. Not around these people. Please no. Do I say anything?' Y/N wanted to get up and find an empty corner to curl up in  like a sick dog, but he was unable to move his body a fraction. He felt as if there was a secret which was pushing back against his clenched jaw. The pure casual unphased nature which Ollie was expressing made Y/N even more nauseous. He couldn't look at anyone directly. As if his anxiety had strapped blinders on either side of his face , Y/N wasn't aware of the presents of anyone new around the table until they were standing in front of everyone else. "Heya all, look who I chose to pull out of bed" James presents was a well needed palate cleanser to the current vibe of the table, as he slid passed the guys making his way to press up against Lily. Y/N still stayed transfixed and was unable to greet him. Worse yet as James and Ollie greeted one another and started talking about rugby alarm bells screamed through Y/N's mind. 'No. This is wrong. They can't know each other. James is my friend. Part of my world. No this is all breaking apart'. It was becoming harder for Y/N to stifle his increased breathing. With his own mind warped he was unaware of the second figure carefully sitting down next to him. Panicking Y/N started to worry he was going to collapse . Oh God.

"Hey." a deep bashful voice uttered. Silence lingered in the air afterwards. The conversation around them faded and  every spinning stressful thought  in Y/N's mind evaporated, the lights dimmed and turning his head towards the voice, a soft spotlight fell on Y/N and Remus' faces. The chaos of the pub around them subsided. "It's good to see you again", the eye contact between them was intimate and endearing, so pure that both Sirius and Lily noticed it, smiling at one another before returning to the main groups conversation. The two men were lost to the world within each other. Y/N, regaining some confidence meekly asked Remus how he'd been doing and sitting down next to him Remus began to talk about how he'd attempted to rest today on the sofa reading but James had been watching some sports on the TV, Remus didn't care enough to remember which one. As he told Y/N about his day Y/N found that every word which escaped Remus' thin curved lips was able to reduce his speeding heart rate, returning it a mellow constant pulse. It almost didn't matter what he was saying. As long as it was his voice. Then looking down, hidden from everyone else, while their private talk continued,  Y/N saw Remus slide his fingers into his own, a gentle grip keeping them together, his skin felt warm. This made Y/N want to cry, the kind of warm relieved tears you only feel when finally life seemed to be being kind to you. "Thank you for being here" Y/N whispered interrupting Remus' story but the taller man didn't seem to mind, tilting his head sidewise he only smiled down at Y/N. "And how are you doing up in there" Remus playfully murmured lifting a finger up on his free head and discretely pointing towards Y/N's forehand. Curiously in this moment Y/N felt the urge to tell Remus everything. He very much might have done so if everything then didn't start to go horribly wrong. 

Peter's eager voice broke through their sound barrier and both men turn to hear. "Oi.Oi. mate. Ollie you were going to finish telling me that hilarious story, remember!". Ollie simply raised an eyebrow as he continued to swing down his pint, seeming not to recall. "Yeah, you know" Peter spat "You were telling that story about in first year that guy who was obsessed with you. Like proper fancied you and that". Remus felt Y/Ns hand in his grip him extremely tight before going limp, from the corner of his eye he observed that Y/N looked unwell as if he suddenly lost all his colour. "There's nothing wrong with a guy fancying another guy" Sirius said bluntly, his eyes becoming dark pin pricks behind the rim of his glass. "I mean sure. Yeah." Peter continued "but like this guy was a total mess! Getting beyond hammered at every party you went to and then crying on your shoulder when he eventually got his hands on you. What a whack job". No one else around the table found the story particularly amusing, Peter  looked back towards Ollie expecting him to pick the story up but he simply drank his pint, then picked at a scab on his arm. Studying Y/N further Remus noticed Y/Ns fingernails were clenched into his  thigh, Remus tried to whisper to him if he was alright but Peter's boisterous bellows drowned him out "OH! and in the end didn't he like, only get the message  once he walked in on you having sex with a girl at a party! Mate that's just wild" Peter snorted tipping his glass all the way back to get the last few drops, "What was that guys name again?".

Effortlessly Ollie looked up directly across the table at Y/N as if he'd only just remembered Y/N was sitting there, he met Y/N's enlarged stressed pupils with his own calm misty stare. A small smug smile draw across his face as he lowered his glass, "Why don't you ask him". This was lost on the rest of the group but as the silence remained and Ollie and Y/N kept staring at one another, Y/N noticeably upset, they all began to turn towards the smaller man, who's shoulders were hunched up against his burning ears. He couldn't bare seeing all their eyes on him, especially Remus'. Ollie's unsubtle smile grew as he turned towards Peter "Shall we get another drink". "Excuse me" Y/N mumbled abruptly getting up before them, his hand slipping out of Remus' as he turned and promptly made his way to the pubs back door before anyone could say another word or notice the hot tears coming down his cheek. 

Lily was the one who found Y/N first after a few minutes, stepping outside into the patio area she scanned across the benches, at last catching sight of Y/N hunched over on the floor in the corner. His knees where pressed up against his chest and he was having trouble breathing. "Oh darling there you are. Hey. it will be alright" she said rushing over and kneeling down next to him. Remus was the next to step out and promptly made his way towards them before squatting down in front of Y/N, this made the tear streaked man burying his face into his arms, his cheeks boiling with shame. "I'm sorry I'm really sorry" he blubbered out "It's not true. It's really not and I know what that sounds like but please believe me.". Retrieving one of Y/N's clenched fists Remus held it in his hands, "It's okay Y/N." everything wasn't but hearing those words from Remus allowed Y/N to believe it was for a second, taking a long quivering breath Y/N started to calm is throbbing chest, rubbing it with his clenched fist. Patiently Lily and Remus sat with Y/N not saying anything, Remus held Y/N's hand, palm up in his own with his other hand brushed up and down Y/N's bare forearm. His nails ever so slightly running across Y/N's skin. Y/N looked at the actions stunned, "How do you know how to do that?" he sniffed, "I've seen you do this to yourself several times, when your nervous I'm guessing" Remus replied looking hopefully up into Y/N's eyes. They sat in silence for a little longer, Remus continuing to stroke Y/N's arm. With the light drizzle coming from above they were alone on the patio, inside loud chatter could be heard from the pub.

"We did meet in first year" Y/N finally said, staring down at his shoe and its untied lace. "But he was the one who started pestering me. I knew he wasn't gay so I kept telling him what he was trying to achieve here but he kept coming after me and eventually I gave into him... I'd never had a boyfriend before and I supposed I just really liked the idea of just having one." Lily scooted up closer to Y/N as he talked. "It was fine at first ... though it wasn't really, we would hang out with his friends and drink way too much, I skipped classes and never spent time with anyone else. I'd get so drunk I'd pass out and remember nothing, he used to tell me these horrible stories about how I'd act out or do something stupid and I'd only find out weeks later that they weren't true. He just made them up for a laugh. However as time went on it become harder to tell between him making up stories and the truth. The truth is I did used to get drunk and cry on him at parties but only because after he'd get drunk himself, he'd complain to me and anyone else near by about how he missed being with women and how he despised me for being a man. In the mornings I'd ask him why don't we just break up then if that's how he felt and he always came back with how i was just remembered what he said because I was too out of it myself. The saddest part of it was I still stuck around even with all that shit. Actually no. The saddest part was I still stuck around even when I did walk in on him fucking a girl, someone from my year mind, we still dated for a month afterwards that. I felt like I had nowhere else I could go.". The concerned sympathetic looks on Lily and Remus' face made Y/N uncomfortable but as if like a burst pipe, Y/N was unable from stopping. "I wanted to leave him so badly, by that point but I had been made to feel so small. And the most pathetic part" Y/N was laughing at himself now "He was the first to break up with me. Said I was becoming too much of a wreck to handle. And I beg for us to stay together. Idiot I know. After three days apart, away from cluster fuck of misery, despite still being broken I knew I was finally free. On the forth day I actually get a call from him all lonesome and declaring he made a mistake and wanted to try again. I hung up on him. Probably the bravest thing I've ever done". Breathing outwards Y/N whipped away his tears on his sleeves, he still felt an unpleasant pit nesting in his stomach nevertheless all the crying did make him feel lighter.

Lily drew him in close for a hug, Y/N's body felt weak but he didn't resist. Remus silently continued to hold and stroke Y/Ns arm therapeutically. Y/N was curious but also terrified of what Remus would think of him now. "I'm fine. I promise" Y/N insisted "I don't let someone as grim as that define me. It's made me nervous and awkward around people but I've found my own ways of coping. I just wasn't expecting him to be here tonight". 

In this moment James and Sirius appeared outside and lightly jogged towards the other, they both seemed a little out of breath. "There you guys are. Y/N. Are you alright". Y/N sniffed and awkwardly smiled and nodded up at James. "We've sent them on their way, Peter and that Ollie guy. Twats the pair of them" Sirius huffed, genuine anger behind his eyes. "I'll also be talking with the coach tomorrow" James chummed in "see about getting that arse off the team". "Oh no" Y/N called out returning to his stressed state "You don't need to do that for me really". James smiled down at him "Oh trust me I will. He's a terrible player and an arse, the rest of us have wanted him off for ages. Besides, no one talks about my friend like that without repercussions". This made Y/N look at up him like a beady eyed child. This meant a great deal to him.

"Well, after all this excitement tonight shall we go back to ours and cool off" Sirius declared running his hand through his long hair. Everyone agreed. Upon rising up to their feet Y/N noticed that Remus still held onto his hand and did so as they left the pub and walked down the street all the way to their house. Remus didn't say anything, he appeared to be thinking deeply, yet he stayed close to Y/N throughout. The night ended with all five of them watching a late night film on the TV, it was dated and campy which made it perfect viewing. James and Lily were curled up on the sofa together, while Sirius and Y/N sat on the floor, Remus sat in the large armchair, all his long limbs dangerlying off the arms. As the film played Y/N could feel Remus delicately brushing through his hair and up and down the back of his neck. It felt peaceful and Y/N sunk into the repetitive movement.

After the film ended everyone retreated to bed and again Y/N found himself in Remus' bedroom. No one commented on his accept for Sirius gleefully grinning at Y/N as they said goodnight halfway up the stairs.

They both lay on the small mattress facing one another, Remus stroking Y/N's cheek and Y/N playing with the bottom of Remus' jumper. They had not talked much since Y/Ns story yet this didn't cause any concerns between them. "Y/N?" Remus asked, as the Y/Ns Y/E/C eyes slowly drew up to meet his, Remus could feel his heart swelling up. Cupping Y/Ns chin in his hand Remus drew him closer and kissed him carefully. For five perfect seconds they stayed locked together before parting. "I would like to go out with you" Remus said in quiet confidence "You radiate such sincerity and creativity and I truly feel at peace when I'm close to you." Remus was unable to gage Y/N reaction to this. He contained. "I understand things have been isolating for you and that you are convinced you are broken. Tonight with what you said, I don't think I've felt so sad and angry before. All I want to say to you is" Both of Remus' hands were on Y/N's stubbled cheeks. "I wish to do nothing but protect and cherish you. I freely give you my heart and ask for nothing in return. I swear I will never rush you or belittle you. I only want to care for you Y/N". With their bodies so close Remus could feel Y/N's shaking, he pulled on Remus' jumper tighter. 

Remus controlled his intimate desire to kiss Y/N again deeply while he waited for his reason. Visibly Y/N was processing everything which had happened that night. Once he returned to the current moment in time he looked up into Remus' eye, the scarred man held his breath. "Id very much like to date you Remus" Y/N whispered in reply, Remus left out the happiest sigh he'd ever had before pulling Y/N tightly up against his body. They both kissed each other's necks and weaved their limbs around each other. In this moment neither wanted to be separate from the other. 

[polandgod75]

Watching the ENA video(power of potluck). While it has your typical surrealism, however it takes on a slightly different approach. Rather than it about ENA going to an adventure and seeing that world, it more of a character study of at least yellow-blue ENA. We show ENA is having trouble finding fun or rather happiness. She quite literally uses a mask to cover her blue sad side. She goes to this theatre to see how she can find this true form. Also when yellow ena is talking, she is a lot less energetic compared to the previous episode and that energetic vibe goes to the mask. The mask has this parasitical relationship to ENA. With the many acts she goes through, she still doesn't get that fun that others get. It only when she was the skull therapist, she realized she had been faking a lot of this joy to others and realized she had that fun, it just different. In the end she ponders while looking at the strange frog thing.

To me in my interpretation of this video, it can be about how neuro-divergent(especially high functioning) feels when masking in a world that can be strange. Sure ENA's way of fun and joy might be different, but still valid and has friends like mooney to have that fun. Even then her version of joy is valid. Also ENA is the one that usually questions the weird stuff, which as someone who high functioning neuro-divergent, moot. If you look at the comments of the video you see many relating to that masking and trying to be more "real" or masking it less.

[kwebtv]

Mark Goddard (born Charles Harvey Goddard; July 24, 1936 – October 10, 2023) Film and television actor who starred in a number of television programs. He is probably best known for portraying Major Don West in the CBS series Lost in Space (1965–1968). He also played Detective Sgt. Chris Ballard, in The Detectives, starring Robert Taylor.

In 1959, after just three weeks in Hollywood, he landed a role in the CBS Four Star Television series Johnny Ringo, having played the character of Cully, the deputy to Don Durant's character of Ringo. At this time, he changed his name to Mark Goddard at the suggestion of his friend and mentor Chuck Connors of The Rifleman. Goddard appeared as Norman Tabor in the 1960 episode "Surprise Party" of the CBS anthology series The DuPont Show with June Allyson. He was cast as Sheldon Hollingsworth in the 1960 episode "To See the Elephant" of the ABC Western series The Rebel, starring Nick Adams. He played Tod Rowland in the 1960 episode "The Mormons" on Dick Powell's Zane Grey Theatre. Goddard also appeared in The Rifleman as Marty Blair in 1962 in the episode “Mark’s Rifle.”

The Detectives, another production of Four Star Television, was a hit series which ran on ABC and NBC from 1958 to 1961; Goddard was signed for a role lasting three years (64 episodes). In 1963, Goddard appeared as Roy Mooney on the Perry Mason episode "The Case of the Potted Planter". In 1964 Goddard appeared as Richard on The Virginian in the episode titled "The Secret of Brynmar Hall." That same year he guest starred as a wild killer named “Boyd” in the episode “Journey For Three” on the TV Western series Gunsmoke (S9E36).

Goddard's next role was Major Don West on Lost in Space (1965–1968). A blossoming romance initially existed between West and Judy, the elder daughter of the Robinson family, but by the middle of the second season, West maintained an adversarial relationship with the hapless, sociopathic Dr. Zachary Smith

Goddard guest-starred on three ABC series, The Fugitive, The Mod Squad, and The Fall Guy and for a while, moonlighted as a Hollywood agent. In 1970, Goddard co-starred with Kent McCord and Martin Milner in an episode of Adam-12, in which he plays a friend of Pete Malloy (Milner), who is killed in the line of duty. The episode was titled "Elegy for a Pig" (so titled and announced by Jack Webb himself). Mark Goddard also played Ellie May's beau on the Beverly Hillbillies. Goddard played a supporting role in a 1974 episode ("Dark Legacy") of CBS's Barnaby Jones.

In 1979, Goddard starred as Ted Clayton on One Life to Live and as Lt. Paul Reed on The Doctors. Later, he starred as Derek Barrington on General Hospital. (Wikipedia)

IMDb Listing

[it-happened-once-in-a-meme]

Gotham Analysis/Things I Noticed & Theories Masterlist

Repressed Queerness and Queerphobia in Gotham: An Essay (that I'm very proud of 😁) 🏳️‍🌈

How Gotham Characters' Religious Beliefs Change and Oswald Cobblepot's Fear of Hell 🔥

Funny Theory Why Some Nygmobblepot Scenes Were Never Mentioned Again

Nathaniel Barnes Appreciation Post

Jim Gordon's Presentation as a Tragic Hero🤨 (Jim Gordon Slander)

Why Narrows!Lee Thompkins Has the Time to Wear Make-Up 🙃 (Theory Containing Spoilers About Her Job)

Season 3 Nygmobblepot Theory: Edward Nygma Using Sublimation to Repress his Feelings for Oswald

The Gotham Character Most Likely to Figure Out About Ed's Sultry Hallucination of Oswald (the Answer Might Surprise You 😉)

Canon Physical Nygmobblepot Intimacy in the Mayor Era & Related Headcanons👔

Why Clone!Jim Gordon Was So Inaccurate (Theory)

Worst Hairstyle & How It Hints at Gobblepot

Edward Nygma's Opinion on Pizza Hawaii and Why There's a Pineapple in His Appartment (How I Met Your Mother Style) 🍍

My Question About Oswald's Bad Deed in Season 1 Episode 17

The Unintentional Humour in Season 1 Episode 16 (Charles Van Dahl)

The Sadness in Season 1 Episode 16 (Oswald Cobblepot)

Who Did Jim Gordon Vote For?

Nygmobbelpot Sugardaddy x Sugarbabe Vibes Go Both Ways (like Ed 😉😂)

What kind of a politician I think Oswald Cobblepot would be when it comes to LGBTQIA+ 🏳️‍🌈🤔

Fun Little Gotham Detail (Season 3 Edward Nygma)

Why Oswald Cobblepot Keeps Surviving Being Thrown into Water (Funny Theory)

What Happens When You Look Up IsabellA on the internet (ridiculous conspiracy theory)

Gotham Conservapedia Ridiculousness (Analysis of Homophobic Warnings 🤨) 🏳️‍🌈😂

Edward Nygma went from...to...💀

Different Perceptions of Oswald Cobblepot's Gorgeous Looks

Google's View of Nygmobblepot

More Os at What Cost

Gotham Ship Constellations🌃

Nygmobblepot (& Gobblepot) Girlfriend Parallels

Different Interpretations of Jim Gordon Hallucinating Barbara Kean

Why it would be funny if Ed was in love with Oswald

Fish Mooney Calling her Creator Daddy

Why some people compare Ed and Oswald's clothing style to H&M

Was Edward Nymga Really a Theatre Kid? 🎭

Season 3 Nygmobblepot Close-Up (Edward Nygma Grabbing Oswald)

Small Kristen Kringe & Myrtle Wilson Parallels

Bruce Wayne's parents simply can't die on-screen often enough 😂

[rndyounghowze]

Young Howze Theatre Awards 2023 Nominees

Our Award Show is March 26 at 5PM EST. If you see your name here please email us at rndyounghowze@gmail.com You can support our work by donating on Venmo @rndyounghowze. We are still looking for ASL interpreters! If you know of any service that could help please let us know!

Solo Awards

"All By Myself Award" For Solo Performer Of The Year

Megan Quick in “And Toto Too”

Anabell Ramirez in “Book of Sirens” 

Timothy Mooney in “Man Cave” 

“Flying Solo” For Solo Show Of The Year

“And Toto Too” by Megan Quick 

“Book of Sirens” by Pro English Theatre

“Man Cave” by Timothy Mooney 

 “Good Adoptee” by Suzanne Bachner

"Campfire Award" For Storyteller of The Year

Daniel Kinch in “Story of the Falling Don”

Erika Eileen Wade in “Da Rhythm Da Blues”

Mina Liccione in “Growing Up Ringside”

Mind-Blowing Awards

"Mind-Blowing Stage" For Stage Writing Of The Year

“Monsters of American Cinema” by Christian St. Croix

“La Race” by Bleu Beckford-Burell 

“Sherlock Holmes Valley Of Fear” by Nick Lane

“Lavender Men” by Roger Q Mason

“Whickams Christmas at Pemberley” by Lauren Gunderson and Margot Melcon

"Mind-Blowing Shortie" For Short Form Writing Of The Year 

“Wookiee in The Wilderness” by Marcus Scott

“By The Way” by Lisa Rosetta Strum

“Faulty Lock” by AJ Maryn 

“Waterlillies” by Christine Hillary Lee

"Mind-Blowing Devising" For Devised Production Of The Year 

“From Number to Name”

“Posthumous”

“Afterlife Job Fair”

“Artemisias Intent”

Artists Of The Year

"Extensions" For Movement Artist Of The Year

Mita Ghosal for “Selected Fabrics”

Alicia Diaz for “Puerto Rico y Richmond”

Lena Adele Wolf and Clemence Debaig for “Discordance”

"Action" Award For Film Director Of The Year

Thomas Cote in “Memories of Over Development”

Yannis Sainte-Rose in “Tuff Guy”

Olivier Sagne in “Lovena”

Iida Valme in “Mirage”

"Dress Up" Award For Costume Designer Of The Year

Wendell Carmichael in  “Lavender Men”

X Hill in “Cymbeline Project”

Gail Russell “Wickhams: Christmas At Pemberley” 

"Mix It Up" Award For Sound Designer Of The Year

Adrian Bridges in “Artemesia’s Intent”

Stepy Kamei in “One Bad Day”

Leonie Bell in “Arrow Of Time”

"Maestro Award" For Outstanding Musical Composition

Diana Oh for “The Cymbeline Project” 

Nathan Leigh for “POV: You Are An AI Achieving Consciousness”

Maurice Soque Jr. for “Non Player Character” 

Director Of The Year

Taylor Reynolds in “La Race”

Lisa Scheps and Brian Cheslik in “Last Five Years”

Alex Borovenskiy in “Book Of Sirens” 

Nick Lane “Dr. Jekyll and Mr. Hide”

Short Form Director Of The Year

Destiny Whitaker in “All Out Of Spoons”

Zhailon Levingston and Tracy Conyer Lee in “Fire This Time Festival 22”

Cayle Komara in “Waterlillies”

Creative Of The Year 

Christian St. Croix

Scarlett Kim

Roger Q. Mason

BIPOC Hero Award

TBA

“Magician” Award For Press Contact Of The Year

TBA

Shows/Festivals Of The Year

Festival Of The Year

“Fire This Time Festival”

“Frigid Fest”

“Talking It Out Fest”

"You Oughta Be In Pictures" For Film Of The Year

“Memories of Over Development” 

“Undine”

“Lovena”

"Billy Bard" For Digital Shakespeare Production Of The Year

“Rome-Oh No They Didn’t” 

“Romeo and Juliet” by Sister Shakes

“Breakneck Romeo and Juliet”

Show Of The Year

“Lavender Men”

“The Cymbeline Project”

“La Race”

“POV: You Are An AI Achieving Consciousness”

"360" Award For VR Show of The Year

“Queerskins” Ark”

“Anakwad”

“Non Player Character”

“Discordance”

"Free Fall” Award For Immersive Production Of The Year

“Section 230”

“Posthumous”

“POV: You Are An AI Achieving Consciousness”

“Afterlife Job Fair”

"Grace Notes Award" For Musical Production Of The Year

“Non Player Character”

“Lizard Boy”

“The Last Five Years”

"Can You Hear Me Now" For Audio Production Of The Year

“You’ve Reached Justin” By Christian St. Croix

“One Bad Day” By Stepy Kamei 

“Arrow Of Time” By Allyson Dwyer

Performers Of The Year

"More Than Merely Players" Award For Outstanding Dramatic Performer Of The Year

Krissy Lemon in "The Last Five Years"   

Mariah Freda in "Artemesia's Intent" 

Susannah Perkins in "Arrow Of Time"

Ben Holbrook in "Arrow Of Time" 

Blake Kubena in "Dr. Jekyll and Mr. Hyde" 

"Fools These Mortals Be" Award For Outstanding Comedic Performer

Imani Waweru in “Wickhams: Christmas at Pemberley”

Monique "Momo" Holt in “The Cymbeline Project”

Cristofer Jean in “The Cymbeline Project”

Stacey Sargeant in “La Race”

Melanie Leon in “Afterlife Job Fair”

"Capture" Award For VR Performer Of The Year

Debbie Deer in “VR Christmas Carol” 

Brendan Bradley in “Non-Player Character”

Lena Adele Wolf in “Discordance” 

[ancientphantom]

September has passed and we’re heading into the cool fall hours, and the Phantom story certainly delivered us new reading material!

Patricia Peacock und das Phantom in der Oper by Tiffany Crockham is a German-language version of the story and leans toward murder mystery, starring Patricia and John Peacock, for whom this is the fourth book. They’re visiting the Cairo opera house, only to discover that the local soprano, Brunella Carvalotti, is being continually threatened by a mysterious Phantom that wants to remove her to make way for his own protege.

The Hells of Notre Dame by R. L. Davennor is the first in a series that is definitely Doing Things, in all capital letters. A mash-up of the Phantom story and Victor Hugo’s The Hunchback of Notre Dame, it features a Phantom who has fallen in love with Esmeralda, and also they are lesbians. So few downsides on this one, is what I’m saying. (No idea if the gargoyles appear but you know I’ll be ready if they do, after When Angels Wept.)

Shattered Melodies by Jessica Eissfeldt is set during World War II and revolves around a scarred ex-soldier who runs into his first love singing in a club and decides to give romance one more try, even though he’s concerned about his face being a problem.

The Phantom’s Pet by Kassandra Kross is a dark erotica option in which a young performer attending a theatre group finds themself locked inside the Opera Ghost and getting extremely molested by the resident “ghost”.

Night’s Melody by Drake LaMarque is a hardcore BDSM gay romance AND a direct adaptation of the story, setting it in modern times with Christophe, a ballet dancer catapulted to being a singing darling after a surprise gala performance, and the mysterious Phantom who trains him, as well as Matthieu, the fellow dancer who loves him. It promises group scenes, if you’re into all your Phantom characters exploring together!

Symphony of the Night by Germaine Mooney is a collection of Mooney’s short stories and poems, all of them Phantom-themed! (Not a surprise, considering this is Mooney’s third Phantom-related work at least.) Twenty-four stories, including some hot and sexy ones, no waiting!

Xavie: Melody of the Night by David Schaefer is an interesting one; set during the Great Depression in the United States, it’s mostly about a young violinist who gives lessons to impoverished children, only to be extremely struck by the skill of a particular little girl who has more than a whiff about her of perhaps being a child version of Christine.

The Masked Stranger by MaryAnn Sires is a prequel to some of Sires’ other works, revolving around a masked architect who wants to build his own new theater in New York City, and who may just be the grandfather of some more recognizable characters later in Sires’ series...

The Picture House Phantom by Louise Smith is a short story about a family that moves to a new town for a fresh start and decides to move into an old converted theater, only to discover that there may already be a tenant in the basement who is not very happy to see them.

We’ve also got the Masked series by Skye Anne Chariss, which is really four chapters being marketed as separate books more than a true series (they run arou 50-60 pages each). The premise involves a scarred man who falls in love with a woman at a masquerade ball but fears letting her see what lies under his mask in case she rejects him, and romance ensues.

That’s it for now, but stay tuned for next month and the HALLOWEEN HAUL!

[papermoonloveslucy]

KIDZ!

The Young People of the Lucyverse ~ Part 2

W.C. Fields famously warned performers never to work with children or animals. Luckily for us, Lucille Ball consistently disregarded his advice. Here’s a look at some of the young performers and characters of the Lucyverse.

Jerry Carmichael (Jimmy Garrett) and Sherman Bagley (Ralph Hart) ~ Jerry was the son of Lucy and Ralph was Viv’s boy on “The Lucy Show”. Hart appeared in 44 episodes from 1962 to 1965. Garrett appeared in 55 episodes from 1962 to 1965. Jerry had a teenage sister named Chris and their father was deceased. Sherman was an only child whose dad Ralph was divorced his mother Vivian. 

Chris’s young friend Susie (Lucie Arnaz) appeared in “Lucy is a Chaperone” (1962). 

Susie turned up again as a waitress at Wilbur’s Ice Cream Parlor in “Lucy is a Soda Jerk” (1962). Desi Arnaz Jr. plays a customer, meaning that both of Lucille Ball’s real-life children appeared in the same episode. 

In other episodes, Desi Arnaz Jr. played Billy Simmons, son of Audrey (Mary Jane Croft), a baseball player, football player, and cub scout. Billy was seen in “Lucy is a Referee” (1962), “Lucy and the Little League” (1963), “Lucy Visits the White House” (1963), and “Lucy and the Scout Trip” (1964, above), which also included Barry Livingston (as Arnold Mooney) and nine other uncredited scouts. 

When the show shifted locations to Los Angeles leaving Susie and Billy behind, Lucie and Desi Jr. appeared as spectators in the grandstands in “Lucy At Marineland” (1965). 

“Lucy Misplaces $2,000″ (1962) ~ Katie Sweet (Katie, Granddaughter of Woman on Bench) was just five years old when she filmed this episode, but had been acting since the age of two!  Earlier that year, Sweet played the title role in the Desilu pilot “Sukuzi Beane”, which co-starred Jimmy Garrett and helped him land his role of Jerry Carmichael. Sweet left show business when she was 13.  

“Together for Christmas” (1962) ~ Ends with Jerry and Sherman joining a group of carolers from the YMCA. The carolers were played by the real-life Mitchell Boys Choir. 

“Lucy is a Referee” (1962) ~ In addition to Jerry, Sherman, and Billy, the cast featured Dennis Rush (left) as Tony Lawrence. The other football players are played by the Mighty Mites of the Venice Athletic Club, a pee-wee football team from Venice Beach, California.

“Lucy Goes to the White House” (1963) ~ Lucy and Viv take their cub scout troop to Washington DC to bring their sugar cube White House to President Kennedy. In addition to Jerry, Sherman, and Billy - the cast also includes 9  uncredited young boys as Cub Scout Pack 57.

Critic’s Choice (1963) ~ Ricky Kelman played John Ballentine, son of Parker (Bob Hope) and stepson of Angie (Lucille Ball), husband and wife theatre critics. 

“Lucy Gets Locked in the Vault” (1963) ~ Barry Livingston plays Mr. Mooney’s son Arnold. Livingston is probably best remembered as Ernie, the adopted son on “My Three Sons.”  His first appearance on that series was just one week after he played Arnold Mooney, a role he would return to in “Lucy and the Scout Trip” (1964).  

When Livingston started on “My Three Sons” (also filmed at Desilu), the role of Arnold Mooney was taken over by Teddy Eccles in “Lucy’s Contact Lenses” (1964). Eccles began his show business career at the age of 4 and was 9 years old when he first appeared on “The Lucy Show.” 

He will make two more appearances on the series as other characters, including as Harold, a young cadet in “Lucy At Marineland” (1965). Coincidentally, Eccles also appeared in two episodes of “My Three Sons” alongside Barry Livingston. 

“Kiddie Parties, Inc.” (1963) ~ Lucy and Viv go into business hosting children’s birthday parties. Ronnie Dapo (David, above right) was a ten year-old actor whose first screen credit was in 1959 and his last in 1966. He made several appearances on “The Andy Griffith Show,” the second airing the very same night as this episode of “The Lucy Show.”  There are 8 other young boys in the party scene.  

“Lucy Becomes a Father” (1964) ~ Lucy accompanies Jerry on a father / son camping trip where Mr. Mooney is intent on making it so difficult that Lucy will pack up and go home. Five uncredited boys play the other sons on the trip. If Mr. Mooney’s son Arnold is among the boys, he is not singled out, nor are Barry Livingston or Ted Eccles in the cast. 

“Lucy and the Stamp Collector” (1965) ~ Stamp collector Junior White is played by Flip Mark, who celebrated his 16th birthday the day after this episode first aired. He was born Philip Mark Goldberg in New York City. In 1965, he played a young Steve Olson on “Days of Our Lives.” 

Flip Mark returned to “The Lucy Show” in “Lucy Goes to a Hollywood Premiere” (1966) as a kid selling maps to the stars homes. Curiously, this episode also mentions stamp collecting! 

“Lucy the Choirmaster” (1965) ~ Lucy organizes a boys choir to entertain at the bank holiday show.  The choir features her son Jimmy Garret as Jerry (his final appeareance), Ted Eccles as Barry,  Robert Roter as Newton, Micahel Blake as Malcolm, and Theodore Miller as Stanley. 

The other members of the choir (except for Mr. Mooney) were played by the St. Charles Boys Choir. Later that year, they formed the Disneyland Boys Choir and recorded the It’s a Small World album of folk songs still sold at Disney theme parks.

“Lucy the Robot” (1966) ~ Jay North, best known as the title character of “Dennis the Menace”, plays Mr. Mooney’s rambunctious nephew Wendell. Interestingly, Gale Gordon (Mr. Mooney) played Mr. Wilson on “Dennis the Menace” during its final season. 

“Main Street U.S.A.” (1967) ~ Jackie Minty plays a Bancroft newspaper boy. Minty was a child actor who had done two episodes of “The Munsters.”  A week after this episode of “The Lucy Show,” he appeared on “My Three Sons,” his final screen credit before leaving Hollywood.  

Yours, Mine and Ours (1968) ~ Lucille Ball and Henry Fonda play parents of a blended family of 19 children. Among them are Tim Matheson, Gil Rogers, Nancy Howard, Morgan Brittany, Eric Shea, and Tracy Nelson. 

BONUS KIDZ!

“Lucy Meets Mickey Rooney” (1966) ~ In an acting school show, Lucy plays Charlie Chaplin and Mickey Rooney plays 'The Kid’, a character based on Chaplin’s 1921 silent classic The Kid starring Jackie Coogan in the title role. 

“Lucy the Stockholder” (1965) ~ Lucy, Viv and Mr. Mooney participate in an age regression experiement conducted by an eccentric doctor. 

STAY TUNED FOR PART 3

[deiamusica]

EVIL HOT ROD (CAT CREW INC) 2021 TORONTO FRINGE REVIEW

JULY 27, 2021 SAMANTHA WU

Fast cars and even faster women. Evil Hot Rod by Cat Crew Inc, playing virtually at the 2021 Toronto Fringe Festival, is like if the T-Birds in Grease went evil. In this musical radio play set in 1950s New York, Tony Raggione is proud of his new hot rod purchase, despite what all his buddies say. This ride, Carmilla, may look like a hunk of metal that likely won’t make it off the lot, but Tony is determined to make her a lightning roadster… even if she happens to be evil.

Evil Hot Rod is written and directed by Carlo Schefter and Diana Di Mauro and is a direct throw back to greaser flicks, hot rod culture, and rockabilly aesthetic paired with a good ole horror flick. This is a horror comedy that’s chock full of satirical (and a few rather stereotypical) characters that serve as vehicles for the songs. There isn’t much growth to the characters here; it’s all about the music.

If you’re a fan of Grease or The Rocky Horror Picture Show, you’ll be drawn to the music here. In particular, the number “Strange Love” is reminiscent of “Greased Lightnin'” and “Sweet Transvestite” combined.

And if the music is the main focal point, what we have here feels more like a decent draft than a fully developed show. Something that I can feel can be fleshed out, edited, and played around with to be transformed into a production that has the potential to be quite spectacular. As it stands, it’s a good effort but it’s currently lacking something — fleshed out lyrics, stronger vocals, a more rounded band, further expansion to the story itself — which might really blow people away.

Considering how creating theatre during the pandemic has left many artists with far more challenges than they’re used to, this may have weighed on the limitations of this production. I’m not sure if Evil Hot Rod was written with the intention of being a radio play, but if they do plan on fleshing out this story for the stage, I’m looking forward to seeing what they do.

Details

Evil Hot Rod is playing on-demand at the Virtual 2021 Toronto Fringe Festival.

Purchase a $5 Membership to access the On-Demand programming on the Fringe website, then Pay What You Can to each show as you go with a suggested price of $13 per show.

Memberships can be purchased here.  View the virtual on-demand show listings here.

Accessibility notes:

On-Demand shows: videos are closed captioned, transcripts are available for all audio content, documents are screen-reader friendly, and all digital images are provided with alternative text descriptions. These access supplements have been generated by the company and reviewed by the Festival. They may vary slightly from company to company.

Fringe Primetime presentations will feature Auto-Transcribed Captioning.

Content Warning: This production contains depictions of violence, coarse language, gunshots, sexual content, and abrupt cues, recommended for an audience ages 14+.

Poster design by Diana Di Mauro and Carlo Schefter

[speakeysie]

Review: THE PREACHER'S WIFE at The Alliance Theatre is Heavenly

Salvation is a song away with this incredible work with music by Athen’s own Titus Burgess and a book by Kimmie Schmidt writer, Anzie Dungey By Jody Tuso-Key – Managing Editor Photos by Greg Mooney The Gospel is alive and well at The Alliance Theater with their current offering, THE PREACHER’S WIFE. This new musical shows promise of one day gracing the Broadway Stage. Once again as with THE…

[homedina]

High School Theatre Show with Emma Stone - SNL

Students (Emma Stone, Aidy Bryant, Kyle Mooney, Beck Bennett, Kate McKinnon, Mikey Day) at Woodbridge High School stage …

[terrapiner]

Tom cruise bartender

#TOM CRUISE BARTENDER MOVIE#

– Making Cocktail in Canada was a bit of a homecoming for Cruise. He returned in 1998 to attend the Toronto International Film Festival as producer of Without Limits and popped into the city briefly in the summer of 2010 to visit daughter Suri while his then-wife Katie Holmes was shooting The Kennedys. While his then-wife Nicole Kidman was making 1995’s To Die For in Toronto, Cruise spent time in the city learning learning to fly and earned his pilot’s license.

#TOM CRUISE BARTENDER MOVIE#

– Cocktail is the only movie Cruise ever made in Toronto – but it wasn’t the last time he was in the city. “All of those things are themes that young people are concerned with and definitely identify with… and still do.” What are you going to do with your career? What are you going to do with your love life? How are you going to handle your parents? All of those issues are explored in that movie,” Donaldson said in an interview last year with Movie Fanatic. “It’s a movie that speaks to young people and their lives. With dreams of opening his own bar, Brian takes a job at a beach resort in Jamaica and falls for Jordan Mooney, a girl from a wealthy family (Elisabeth Shue).Ī quarter-century after Cocktail opened in theatres, its director explains why it still resonates with audiences. In today’s dollars, Cocktail was a $300 million blockbuster.Ĭruise was Brian Flanagan, an American soldier returning to civilian life in New York City who meets a veteran bartender (Bryan Brown) and balances college studies and a job behind the bar. It gave Cruise his best opening weekend - beating Top Gun by $3.6 million – and went on to earn $172 million worldwide. and Canada for two weeks before being bumped by Young Guns. The movie earned $11.8 million on its opening weekend and remained in the No. Written by Heywood Gould (previously a writer and producer of TV’s The Equalizer) and directed by Roger Donaldson (who had just made No Way Out starring Kevin Costner ), Cocktail was Cruise’s tenth movie and came hot on the heels of Risky Business, Top Gun and The Color of Money. “But it wasn’t a movie that stood out for me.” “Everybody was in awe of Tom Cruise because he was just ascending and he was definitely in control of the movie,” recalls Stuart Aikins, the movie’s Toronto casting director, from his home in B.C. The simple tale of a bartender who tossed bottles and landed a wife – which opened in theatres on J– was largely filmed in Toronto. TORONTO – Cocktail, the movie that cemented Tom Cruise’s leading man status in Hollywood and made audiences dream of a place called Kokomo, celebrates its 25 th birthday on Monday.

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This proved in the ‘80s that all Tom Cruise needed was a ridiculous undertaking. Still, the film did gross over $170 million against a budget of just $20 million. Sure, Roger Ebert wrote, "The more you think about what really happens in “Cocktail”, the more you realize how empty and fabricated it really is." Richard Corliss of TIME wasn’t much kinder saying it was "a bottle of rotgut in a Dom Perignon box."Ĭruise, for his part, admitted, "Cocktail is not my crowning jewel." However, alongside his Oscar nomination for that year’s “Rain Man,” “Cocktail” earned him the distinction as the only actor nominated for an Academy Award and a Razzie in the same year. The star characteristically threw himself into “flair bartending,” while breaking so many bottles, they eventually switched to plastic. The people came to see Tom Cruise flip bottles while preaching about shots called the death rattle and orgasm. It was written by the guy who wrote Fort Apache The Bronx, and it was a much darker movie, but Disney took it, reshot about a third of it, and turned it into flipping the bottles and this and that."Īs it turns out, no one cared about the overarching criticism about ‘80s excess. But it was obviously a really successful movie, if not as good as it could’ve been. With Cruise came inevitable changes as actress Kelly Lynch explained, " was actually a really complicated story about the ’80s and power and money, and it was really re-edited. Eisner says, 'He'll never do this, don't waste your time, he can't play this part.' And then Katzenberg says, 'Well, he's really interested in doing it,' and without skipping a beat, Eisner says, 'He's perfect for it, a perfect fit!' That's the movie business: I hate him, I love him I love him, I hate him!" "Someone mentioned that this might be a good vehicle for Tom Cruise. Despite the long list of potentialities, Gould shared an illuminating story regarding Disney’s head honchos, Michael Eisner and Jeffrey Katzenberg, about how the big decision was made.

[designdekko]

Sparano & Mooney Architecture designs state-of-the-art buildings for Utah State University's Fine Arts Campus

As one of Utah’s leading architecture firms, Sparano & Mooney Architecture is sought after for its limitless exploration and deep commitment to the design process, which has resulted in thoughtfully innovative and award-winning contemporary design solutions within the American West.

For founders, Anne Mooney, AIA, and John Sparano, FAIA, a shared passion for designing within the rugged Western landscape have resulted in works across extreme topographies, as well as multiple sectors, most notably landmark designs for arts and cultural facilities. In celebration of their portfolio, the firm’s forthcoming monograph Sparano + Mooney Architecture, A Way of Working, published by Hatje Cantz and available in August 2022, highlights the dialogue between concept and location found in their work, as well as their commitment to sustainable and innovative buildings that are embedded harmoniously into spectacular mountain landscapes.

The firm's long-standing work at Utah State University in Logan, UT has resulted in significant expansions, renovations, and new construction of three state-of-the-art buildings for the school’s Fine Arts Campus: Sid Perkes Theatrical Design Complex, Daines Concert Hall, and the Nora Eccles Harrison Museum of Art (NEHMA). The newest building, the Art Research & Education Center at the Nora Eccles Harrison Museum of Art, is anticipated to open in 2025 and will be located adjacent to NEHMA. Though completed over many years, the work collectively shares a commitment to restrained forms and innovative material detailing that responds both to the campus’ natural surroundings and the unique relationships between each building. 

Also Read | 4 ways to style your interior spaces with copper

“Our team has been honoured to collaborate with the University on the renovations and additions to their Fine Arts complex for nearly a decade,” says Anne Mooney. “We now look forward to developing a new, state-of-the-art educational facility that will allow an extraordinary collection of artworks to be accessible to researchers, faculty, students, and to the wider community.”

Nora Eccles Harrison Museum of Art (NEHMA)

The original Nora Eccles Harrison Museum of Art (NEHMA) building was designed by American architect Edward Larrabee Barnes and completed in 1982 as an expansion of the larger Fine Arts Center on the campus of Utah State University (USU). Sparano + Mooney Architecture’s design of the museum’s new addition is a quietly restrained form that does not compete with nor mimic the existing museum nor the adjacent signature building, a 2006 Sasaki-designed Performing Arts Center. Rather the addition creates a new public plaza that connects the two buildings in a neutral response to a visually complex context.  

[dd:gallery id=750]

Daines Concert Hall

The Newel and Jean Daines Concert Hall project includes the complete renovation of the former Kent Concert Hall to create a new state-of-the-art space for orchestra, band, and choral programs. The renovation includes a new acoustical shell; acoustically reconfigured walls and finishes; and upgraded theatrical, audio, and lighting equipment to enhance the acoustic performance of the venue for both performers and audiences. The new concert hall serves audiences throughout the region with world-class music and programming in a newly renovated and state-of-the-art cultural facility.

Also Read: Easy Guide To Choose A Color Palette For Your Space

Sid Perkes Theatrical Design Complex 

Part of the Utah State University Department of Theatre Arts and the Caine College of the Arts, this project includes the expansion and renovation of the existing Scene and Costume Shops, which support the Morgan Theatre and other local theatrical venues. The new 8,000-square-foot addition by Sparano + Mooney Architecture provides the necessary tooling, layout, equipment, and storage space for the design and construction of theatrical scenery, including a new paint booth and dust evacuation system. The upper level of the facility provides new work and teaching space for theatrical costume production, including new sewing stations, layout and work tables, fabric storage, fitting rooms, a dye vat, laundry facilities, and faculty offices.  

Art Research & Education Center at NEHMA

Visitors will also be able to see how the museum cares for and stores objects will allow them to search the database, and open drawers to engage with and learn about art in a more personal, explorative way. 

Also Read | Montreal, Canada : New outdoor furniture section on degaspe.ca

Read More

[rndyounghowze]

It’s Time We Took Indie Digital Media Seriously

By: RnD

There has been a disturbing trend in the “mainstream” media these days to trivialize or heckle Youtubers. Tik Tokers, or other digital creators because they aren’t seen as an artform or an industry. This is hilarious because there has never been a bigger media explosion across all disciplines in history. We laugh at the Try Guys and Bear and Barlowes of the world when they hit the news but they are actually part of a big business. In the former case settling legal disputes worth millions of dollars or, in the latter, losing out on thousands of dollars in ticket sales. When things are worth serious money they need to be taken very seriously. Especially in the world of digital theatre then we need to take heed. We make our money online too and the same reasons that make digital media competitive in this world are realities for us as well.

Flexibility

Right now indie artists are poised to make moves and do projects that could be changing the face of the industry. They have an ability that the mainstream organizations don’t: they have flexibility and the ability to experiment. True they don’t always have the money or the institutional support. However, have you realized that the bigger organizations can’t turn on a dime like the smaller ones? Even if they do, they have to contend with sponsors and an audience that counts on them doing the same thing all the time. Couple that with a powerful need to keep the lights on and you can see why most of the time they seem to be going at a glacial pace. If you want to find creators that are more willing to take your feedback and incorporate it into future programming then you have a much better shot supporting a smaller unit.

They Are The New Training Ground

Think back on your first theatre experience. Besides the church Nativity play or the High School musical your first gigs in the theatre were working on a friend’s show in a small black box or indie space. If you look at Ricky’s first producing/directing gigs they all came from productions with friends or shows that they self produced. All of this migrated onto the web with digital theatre. Many of the next generation of digital theatre makers are going to be cutting their teeth on small indie live streams or in a Zoom room with a community of creators from across the world. Indie digital productions are going to be on the resumes of most artists in 3-5 years. You can’t just write them off.

“Couch To Stage” Is Real

We can point to several of the indie digital artists that are rocking it out on the stage right now with shows that were workshopped digitally. From Kristina Wong touring an award winning show that was originally shown in her bedroom to Timothy Mooney licensing digital copies of his shows that he brings to the Fringe stage throughout the summer. It is (hopefully) going to get more common for shows to be able to be workshopped in the safety of their bedroom and then be taken in-person when they are more fully developed. This drastically reduces the cost of staging new works and means that you’re not taking something to the stage until you know that it’s ready. Plus just about every comedy Tik Toker that you have ever seen has used their digital work to book stand up sets in-person. Think of it like an inexpensive way to put a living portfolio out into the universe.

We keep on downplaying the importance of digital work except that most of us stare at it every day. These same small creators have the flexibility to do the most experimental work, will be hiring most of our young freelancers, and set an example for other creators in a world where creating at home is a valid path to producing on stage. If all of this is silly and not valid then why are we viewing so much of it and giving them the advertising revenue? We need to be pushing the idea that these creators be taken seriously as the meat and potatoes of the industry, get full consequences when they abuse their power, and that more aspiring creators can be given the tools to succeed.

[imthesurvivorcparr]

undefined

Brianna Mooney (Bliss 3.0) performing All You Wanna Do!!

📸: unknown, originally posted by bway_dreams on instagram

[papermoonloveslucy]

MOVIES on TV!

Part 2 ~ The Movies of “The Lucy Show”

Lucille Ball was a famous film star who became one of the biggest TV stars of the 1950s. She continued her trailblazing TV career in the 1960s with “The Lucy Show” where her character, Lucy Carmichael, was a huge film fan. 

~FACTUAL FILMS~ 

“Lucy Goes To a Hollywood Premiere” (1965) 

Lucy is movie mad!  When her plans to go to a Hollywood premiere with Mary Jane fall through, she disguises herself as one of the theatre’s ushers to work the red carpet and get autographs from the celebrities.

Lucy’s movie poster collection includes: Radio City Revels (1938), which was filmed at RKO, the studio that became Desilu; The Overland Express (1938); and Suspicion (1941), another RKO picture.  

Kirk Douglas is introduced as “The star of two great films: ‘The Heroes of Telemark’ and 'Cast a Giant Shadow.'” The Heroes of Telemark was released in the UK in November 1965, but would not premiere in the US for a month after this episode first aired. One month later (March 30, 1966), Cast a Giant Shadow premiered.

Memorabilia crazy Lucy says she bought a pink chiffon nightgown from Lillian Goodman’s Goodies for $75 that was worn by Doris Day in Pillow Talk (1959).  Mr. Mooney says he wouldn’t buy a second hand nightie if it had been worn by Jack Lemmon in Some Like It Hot (1959).

“No More Double Dates” (1963) 

Lucy and Harry (Dick Martin) and Viv and Eddie (Don Briggs) can’t agree on where to dine or what movie to see. They decide to pick out of a hat. 

Searching for possible movies to see, Eddie prefers Ben-Hur (1959) at the Ritz over Two for the Seesaw (1962), because you get more actors for your money. Ben-Hur famously had a cast of 30,000. The movie was also mentioned in “Lucy’s Sister Pays a Visit” (1962). Ralph Hart (Viv’s son Sherman) was an extra in Two for the Seesaw. Although the play lived up its title with a cast of two, the film was fleshed out with many more characters. 

Viv wants to see What Ever Happened to Baby Jane (1962), but Lucy thinks it will be too scary. The film starred Bette Davis and Joan Crawford, who will make a guest appearance on “The Lucy Show” in season 6. Lucy says she wants to see “the Cary Grant picture at the Danfield Theatre.”  She is probably referring to That Touch of Mink (1962). Herschel Graham, an extra in this episode, is also an extra in the film. Lucy notes that movie tickets are $1.50. 

CLEOPATRA ~ “Lucy Plays Cleopatra” (1963)

At the Danfield Community Theatre, Lucy lands the plum role of Cleopatra. 

Lucy says she should get the part because she saw the film twelve times. Sarcastically, Viv says “She means the one with Theda Bera.” Lucy is referring to the 20th Century Fox's 1963 extravaganza Cleopatra starring Elizabeth Taylor and Richard Burton as Mark Antony. Viv is referring to Cleopatra, a 1917 silent film. All known prints of this film were destroyed in a Fox Studios Fire in 1937. The writers might have also referenced Cecil B. DeMille's 1934 film Cleopatra starring Claudette Colbert.  

GASLIGHT - “Lucy Gets Mooney Fired” (1967)

Lucy and Mary Jane watch Gaslight  (1944) on TV. Lucy sums up the plot for Mary Jane: “Charles Boyer tries to convince Ingrid Bergman that she is seeing things that aren’t there.” This inspires Lucy to try to make Mr. Cheever think that he is going crazy, much like the plot of the film. The movie was based on Patrick Hamilton’s 1938 play Gas Light (known in the United States as Angel Street). It inspired a 1940 British film before the 1944 Hollywood version.

WINGS ~ “Lucy and Carol Burnett: Part 2″ 

Lucy and Carol get their wings as flight attendants and perform a graduation revue about the history of aviation with the stars of the 1927 silent motion picture Wings, Buddy Rodgers and Richard Arlen. The film was the first to win an Academy Award for Best Picture in 1929. 

In Part 1, the in-flight movie unravels, causing Carol and Lucy to do live entertainment in the aisle. 

LAWRENCE OF ARABIA ~ “Lucy the Disc Jockey” (1965)

Listening to the hourglass (egg timer) to win a radio contest, a sleepy Viv makes a joke about hearing Lawrence of Arabia calling for help. Lawrence of Arabia is a 1962 epic historical film based on the life of  T.E. Lawrence and taking place mostly in the desert. It won seven Oscars including Best Picture. The film was also mentioned in “Lucy the Stunt Man” (1965). 

GONE WITH THE WIND ~ “Lucy and Robert Goulet” (1967)

When Mr. Mooney helps Chuck Willis (Robert Goulet) get on a horse for his photo, he comments that there probably was not this much trouble making Gone with the Wind. Lucille Ball was considered for the lead role in the 1939 epic, which went to Vivian Leigh (right) instead.  

DANGER IN PARIS ~ “Lucy Dates Dean Martin” (1966)

Lucy admires (and later wears) a red beaded jacket she recognizes as one worn by Audrey Hepburn in Paramount’s 1937 film Danger in Paris (aka Cafe Colette aka K-33). She says it was sent over by Paramount. In reality, Danger in Paris did not star Hepburn and was not released by Paramount. This is likely something Lucille Ball wanted to wear so a story was made up for it.

MILDRED PIERCE ~ “Lucy and the Lost Star” (1968)

Viv calls Joan Mildred Pierce. This was the name of the title character of the 1945 film that won Crawford her only acting Oscar.

GOLDFINGER ~ “Lucy and the Starmaker” (1967)

When Mr. Mooney threatens to send Lucy to Fort Knox to be made into gold bars, Lucy says to Tommy (Frankie Avalon): “Who does he think he is? Goldfinger?” Goldfinger was a James Bond film released in the US in early 1965. 

In “Lucy and the Undercover Agent” (1965) Lucy, Rosie (Ann Sothern), and Mr. Mooney have just seen a James Bond film. Although the title is never mentioned, Goldfinger was released in the USA in January 1965. A few weeks after this episode aired, Thunderball premiered.

~FILM INSPIRATION~

MY FAIR LADY ~ “My Fair Lucy” (1965) 

LUCY: “Rosie, I have a plan. Did you see ‘My Fair Lady’?” ROSIE: “Yes.” LUCY: “Now listen…” [fade to commercial]

The episode is inspired by My Fair Lady, a 1956 stage musical by Alan J. Lerner and Frederick Loewe that was turned into a major motion picture in 1964. To con a rich couple into funding their charm school, Rosie claims that under her tutelage, she can transform an uncouth, slovenly woman into a refined lady at an elegant soiree. Lucy’s cleaning lady character is named Liza Lumpwhomper. Eliza Doolittle is the name of Audrey Hepburn’s character in My Fair Lady.  

The film starred Audrey Hepburn and Rex Harrison, recreating the role he played on stage. The film won eight Oscars and was phenomenally successful at the box office. It premiered in New York City on October 21, 1964, five weeks before this episode was filmed. In the feature film, a couple of familiar faces from Lucy sitcoms appear: Walter Bacon, George Holmes, Barbara Morrison, Jerry Rush, Bert Stevens, Ben Wrigley, and Lucille Ball’s good friend, Barbara Pepper. Although set in England, the film was shot exclusively in Hollywood.

In 1965′s “Lucy Saves Milton Berle”, Lucy Carmichael disguises herself as a poor flower seller, bearing more than a passing resemblance to Eliza Doolittle from My Fair Lady. 

IT HAPPENED ONE NIGHT ~ “Lucy the Camp Cook” (1965)

After Mr. Mooney runs out of gas (because the last filling station didn’t give trading stamps), Lucy and Viv try hitchhiking. Viv says “Let’s give it that old Claudette Colbert try.”  Viv is referring to a scene from the 1934 film It Happened One Night in which Colbert ‘schools’ Clark Gable in how to get a driver to stop by hiking up her skirt above the knee. 

THE KID ~ “Lucy Meets Mickey Rooney” (1966)

In Mickey Rooney’s theatre school recital Lucy plays Charlie Chaplin and Rooney is the Kid. The sketch is inspired by The Kid (1927) a silent classic starring Chaplin and Jackie Coogan. Praising Mickey Rooney, Lucy tells him “Those father and son talks with Judge Hardy helped a lot.” Lucy is referring to Rooney's portrayal of Andy Hardy in 16 films between 1937 and 1958.

FOLLOW THE FLEET / ROBERTA ~ “Lucy and George Burns” (1966) 

Lucy says that Ginger Rogers is her very favorite star. She describes a film she saw on “The Late Late Show” in which Fred Astaire and Ginger Rogers fell in love despite her accidentally kicking him from the chorus line. Lucy is probably describing Follow the Fleet (1936) or Roberta (1935) in which Lucille Ball had supporting roles. Both films were made by RKO, which became Desilu Studios.

~FICTIONAL FILMS~

“Lucy Goes to a Hollywood Premiere” (1965)

Dimitri Orloff (Sid Gould) is the composer of “I Left My Kidney with Dr. Sidney,” the theme song from the film Doctors and Nurses A-Go-Go.

Mimi Van Tysen (Beverly Powers) and Coconuts (George Barrows) are stars of the Love in the Jungle.

“Lucy and the Monsters” (1966)

Lucy tells Viv that Jerry and Sherman are at the State Theater to see the double-feature The Surfing Werewolf and The Eggplant That Ate Philadelphia, both made-up horror films. Their worries about the effect of the horror films on their boys leads them to have a shared horror film dream. 

“Lucy Meets the Berles” (1967)

To earn extra money Lucy takes a job working as a secretary for Milton Berle. When Lucy hears overhears him rehearsing a love scene with Ruta Lee, she jumps to the conclusion that he is being unfaithful to his wife.  The film they are rehearsing is titled The Friendly Skies, although the script he holds is titled The Friendly Sky. 

“Lucy and the French Movie Star” (1967) 

Lucy says she saw Jacques DuPre (Jacques Bergerac) in the film Kisses at Dawn where he did his own stunts playing a lion tamer. He even goes so far as to demonstrate, using an office chair and a whip (Lucy's raincoat belt) with Lucy acting as the lion. When Mr. Mooney bursts in and sees the reenactment, he jumps to the conclusion that Lucy is attacking DuPre, instead of the other way around!  

“Lucy the Stunt Man” (1965) / “The Return of Iron Man” (1965) / “Lucy and Bob Crane” (1966)

In all three episodes, Lucy makes extra money appearing in films as gruff stunt man Iron Man Carmichael. The title of the films go unmentioned, but in Iron Man’s first outing he is in a barroom brawl in a Western. In his return he is shot out of a canon in a Pirate movie. And when she meets Bob Crane she parachutes in during a World War One epic resembling “Hogan’s Heroes”, Crane’s hit series filmed at Desilu Studios. 

~FILM HOMAGE~

DANCE, GIRL, DANCE ~ “Lucy the Gun Moll” (1966)

In an “Untouchables” parody, Federal Agent Briggs (Robert Stack) is in the dressing room of Rusty (Lucille Ball). Behind Stack is a photo of Lucy singing “Jitterbug Bite” in the 1940 film Dance, Girl, Dance. Ball met Desi Arnaz while filming this movie. It was filmed at RKO, the studio that became Desilu, producer of “The Untouchables”.