One thing I'm thankful for is having Steinbeck with us. It makes all the difference in the world. For the past three weeks, Jim has been going non-stop. As playwright and actor, he has the last word. So, even if he's not directly supervising the production, the buck stops with him.
Merman called it "Taking The Veil."
So, call me Mother Superior. Or Charles Lowe. But the kid is in for the day.
It also means I have a chance to look over the video I've shot so far. The footage from the Blacklist panel alone is beyond priceless.
Meanwhile, "My Thanksgiving Prayer" from the San Francisco Gay Men's Chorus:
Thursday, November 26, 2009
Thankfulness.
Someone asked me what I'm thankful for this year. The only answer I could think of was a very unpoetic "everything."
So what are we doing this year for Thanksgiving? Well, we were invited, by friends, to a holiday meal, but the truth is that the only thing Jim wants, understandably, is to be allowed to do nothing.
For the past month, he has been working, literally, night and day. Whether it's been rehearsal or performance, or something promotional, like the Bock & Harnick night, he's been going and going and going. And doing this show, Zero Hour, is running a marathon every single night.
So, I told him he could just stay in bed and sleep. That I'd bring food up to him -- we're living on two levels, bedroom upstairs, living room and kitchen downstairs -- and he could just curl up with the cat and stay still.
It's been a fast and furious month for us. Our little show -- and it is a little show being done on a shoestring budget -- has attracted lovely reviews, a not inconsiderable feat in New York. It's even selling tickets! But it has a long way to go to begin attracting the kind of attention it needs to become a big commercial success, and that's just a fact.
Still, I am thankful for the producing team for putting their reputations on the line, and believing in Zero Hour. And I'm thankful for you, dear reader, for allowing me to post all the news as it comes along. I still have photos to process, video to edit and stories to tell.
But, first, I think I think I'm gonna curl up next to Steinbeck and Jim and join in on the mutual snoring. I hope you'll be having a wonderful Thanksgiving.
So what are we doing this year for Thanksgiving? Well, we were invited, by friends, to a holiday meal, but the truth is that the only thing Jim wants, understandably, is to be allowed to do nothing.
For the past month, he has been working, literally, night and day. Whether it's been rehearsal or performance, or something promotional, like the Bock & Harnick night, he's been going and going and going. And doing this show, Zero Hour, is running a marathon every single night.
So, I told him he could just stay in bed and sleep. That I'd bring food up to him -- we're living on two levels, bedroom upstairs, living room and kitchen downstairs -- and he could just curl up with the cat and stay still.
It's been a fast and furious month for us. Our little show -- and it is a little show being done on a shoestring budget -- has attracted lovely reviews, a not inconsiderable feat in New York. It's even selling tickets! But it has a long way to go to begin attracting the kind of attention it needs to become a big commercial success, and that's just a fact.
Still, I am thankful for the producing team for putting their reputations on the line, and believing in Zero Hour. And I'm thankful for you, dear reader, for allowing me to post all the news as it comes along. I still have photos to process, video to edit and stories to tell.
But, first, I think I think I'm gonna curl up next to Steinbeck and Jim and join in on the mutual snoring. I hope you'll be having a wonderful Thanksgiving.
Wednesday, November 25, 2009
ZERO HOUR review: Wolf Entertainment Guide
Another great review, this time from the Wolf Entertainment Guide.
I went to see “Zero Hour” with some skepticism on hearing that it was a one-man show with the star performing as the late great actor Zero Mostel. Who possibly could manage to approximate the unique look, distinctive qualities and the larger-than-life demeanor of Mostel? Jim Brochu who wrote the play and stars in it is first seen with his back to the audience. When he turned around, the effect was electrifying. Yes, there stood Zero. And the minute he began to speak, the illusion continued. It turns out that Brochu has the character down pat, in the writing as well as in the make-up and performance.
...the amazing performance hold’s one’s attention and engenders appreciation both for what Brochu has accomplished and for the special character and talented performer that Mostel was.
The Lively, Emotional Blacklist Panel.
Picture yourself in a big, wooden church house filled with people all gathered together to discuss the important issues of our day. Not advocacy, but illumination.
When the Zero Hour producing team decided to put together the panel discussion, Survivors of the Blacklist, as an adjunct to the run of Zero Hour here, I thought it was a good idea. What I could not prepare for was how it would feel to actually do it.
There we were, packed shoulder to shoulder in a big, historic, wooden church building.
We were looking a stage filled with living witnesses and survivors of a time when people gathered together in big wooden church buildings in order to talk about how to survive the depression over which they had little or no power.
And it's not unintentional that Jim plays this show without a mic. It's almost a depression-era production suited to the times. (And how interesting that this Orson Welles movie is coming out right now, another artist of the WPA).
For the event night, however, for all our old ears, we set up a PA system.
Dan Wackerman, of the Peccadillo Theatre Company, which is hosting Zero Hour, stepped to the mic and encouraged everyone to see Zero Hour. Then, he introduced Rep. Jerrold Nadler.
Congressman Jerrold Nadler began the proceedings by mentioning that he chairs, the Constitution, Civil Rights and Civil Liberties subcommittee of the House Judiciary Committee, and that his subcomittee is the descendant of HUAC. He warned that the forces that would blacklist are ever-present in congress and in the media.
This was followed by Jim doing a brief section of Zero Hour. Jim recreating, in a more compact form, Mostel's testimony in front of congress, with Bob Osborne (the TV film historian who introduces films on Turner Classic Movies) guesting as the interrogator.
Then, introduced the panel.
Right from the beginning, without prompting, one of the panelists insisted that the blacklist was, in part, another extension of the antisemitism expressed during the Holocaust, thus justifying Jim's inclusion of this issue, reflecting Zero's opinion, in Zero Hour -- something one of the reviewers pooh-pooh in his review of the show.
Another, actor Cliff Carpenter, 94 years old, barely able to hear, broke down sobbing, as he recalled the fear and how his, and so many of his friends', lives were destroyed.
Kate Lardner and Christopher Trumbo (children of writers Ring Lardner Jr. and Dalton Trumbo) remembered having to grow up in Mexico, and then in various cities across the country.
The panel recalled that most of the "unamerican activities" these creators were engaged in was mostly union organizing, and that few of them knew anything, or even cared, about communism itself. So much of the blacklist was about trying to kill off the Writers union, for instance.
Victor Navasky reminded the audience that it wasn't just the House Unamerican Activities Committee that spread the fear, but that there were little HUACs all over the country, in every state, and in cities, police formed Red Squads, hunting down wherever there might be a communist, and that families were chased from town to town.
Cartoonist and writer, Jules Feiffer said, "Everyone in the country had the benefit of the first amendment except us. We were not allowed freedom of speech."
Jean Rouverol, a writer, also in her 90s, said she and her husband, screenwriter Hugo Butler, were told to testify against each other, so they self-exiled themselves to Mexico. "We had small children at the time," she said in a very emotional moment, "we couldn't go to jail."
Lee Grant, whose career had just started, was blacklisted for 12 years. She insisted that her activism and opposition to the blacklist was never about communism, but about the freedom to speak. She said, "For me, it was never about communism. I didn't even know what communism was. I still don't. And it wasn't important to me. I was just exposed to these extraordinary people. I wanted to be a part of them. But the war that we fought, that Cliff and Jean feel so passionately about, that war has never stopped for me. It's the best group of people that I could find in the world to be with, and I wouldn't exchange it for anything."
Grant chose these people to associate with, and that got her blacklisted. In the play, Zero talks about how his friends would cross the street to not be seen with him.
So, for these people, none of it was about communism, per se. It was about the freedom to speak and to associate with whomever you wish. There was no intention to "violently overthrow the government," as was being claimed by Joe McCarthy. He and his followers would use tearful, passionate, angry speeches to intentionally stir up fear.
Zero says, with his usual comic twist, "Socialists weren't trying to overthrow America, but we thought the government could help out a little. And so did Franklin Delano Roosevelt, the greatest Jewish mind of the 20th century."
Joe Gilford, son of Jack Gilford and Madeline Lee (a fierce union leader who gave the committee scornful hell during her testimony), said he considered his parents patriots and heroes because they refused to name names. He considers the blacklist a witch hunt against comedy, because the jester in the court is the one who tells the truth.
A very dramatic moment happened when an audience member stood to defend her husband, saying that he only named names in order to work, and that he only gave them names that had already been named and that now his legacy would be left to "people like Victor Navasky."
This point was refuted by Jules Feiffer, who said her husband had named at least one new name. Lee Grant, praising the woman for having the courage to speak, said they all had the same chance, but that they refused to turn on their friends. What was clear was that war has collateral damage.
Bob Osborne handled the evening beautifully, asking pointed questions about the era, and taking questions from the audience.
And I was there with my handy camera, getting it all down. I will be uploading the entirety to YouTube, of course. But what a night. It was like hearing Zero Hour all over again, as every point made by Zero in the play came roaring back to flesh and blood life.
One point they continued to stress is that it can all so easily happen again. That they never presume it's over.
When the Zero Hour producing team decided to put together the panel discussion, Survivors of the Blacklist, as an adjunct to the run of Zero Hour here, I thought it was a good idea. What I could not prepare for was how it would feel to actually do it.
There we were, packed shoulder to shoulder in a big, historic, wooden church building.
We were looking a stage filled with living witnesses and survivors of a time when people gathered together in big wooden church buildings in order to talk about how to survive the depression over which they had little or no power.
And it's not unintentional that Jim plays this show without a mic. It's almost a depression-era production suited to the times. (And how interesting that this Orson Welles movie is coming out right now, another artist of the WPA).
For the event night, however, for all our old ears, we set up a PA system.
Dan Wackerman, of the Peccadillo Theatre Company, which is hosting Zero Hour, stepped to the mic and encouraged everyone to see Zero Hour. Then, he introduced Rep. Jerrold Nadler.
Congressman Jerrold Nadler began the proceedings by mentioning that he chairs, the Constitution, Civil Rights and Civil Liberties subcommittee of the House Judiciary Committee, and that his subcomittee is the descendant of HUAC. He warned that the forces that would blacklist are ever-present in congress and in the media.
This was followed by Jim doing a brief section of Zero Hour. Jim recreating, in a more compact form, Mostel's testimony in front of congress, with Bob Osborne (the TV film historian who introduces films on Turner Classic Movies) guesting as the interrogator.
Then, introduced the panel.
Right from the beginning, without prompting, one of the panelists insisted that the blacklist was, in part, another extension of the antisemitism expressed during the Holocaust, thus justifying Jim's inclusion of this issue, reflecting Zero's opinion, in Zero Hour -- something one of the reviewers pooh-pooh in his review of the show.
Another, actor Cliff Carpenter, 94 years old, barely able to hear, broke down sobbing, as he recalled the fear and how his, and so many of his friends', lives were destroyed.
Kate Lardner and Christopher Trumbo (children of writers Ring Lardner Jr. and Dalton Trumbo) remembered having to grow up in Mexico, and then in various cities across the country.
The panel recalled that most of the "unamerican activities" these creators were engaged in was mostly union organizing, and that few of them knew anything, or even cared, about communism itself. So much of the blacklist was about trying to kill off the Writers union, for instance.
Victor Navasky reminded the audience that it wasn't just the House Unamerican Activities Committee that spread the fear, but that there were little HUACs all over the country, in every state, and in cities, police formed Red Squads, hunting down wherever there might be a communist, and that families were chased from town to town.
Cartoonist and writer, Jules Feiffer said, "Everyone in the country had the benefit of the first amendment except us. We were not allowed freedom of speech."
Jean Rouverol, a writer, also in her 90s, said she and her husband, screenwriter Hugo Butler, were told to testify against each other, so they self-exiled themselves to Mexico. "We had small children at the time," she said in a very emotional moment, "we couldn't go to jail."
Lee Grant, whose career had just started, was blacklisted for 12 years. She insisted that her activism and opposition to the blacklist was never about communism, but about the freedom to speak. She said, "For me, it was never about communism. I didn't even know what communism was. I still don't. And it wasn't important to me. I was just exposed to these extraordinary people. I wanted to be a part of them. But the war that we fought, that Cliff and Jean feel so passionately about, that war has never stopped for me. It's the best group of people that I could find in the world to be with, and I wouldn't exchange it for anything."
Grant chose these people to associate with, and that got her blacklisted. In the play, Zero talks about how his friends would cross the street to not be seen with him.
So, for these people, none of it was about communism, per se. It was about the freedom to speak and to associate with whomever you wish. There was no intention to "violently overthrow the government," as was being claimed by Joe McCarthy. He and his followers would use tearful, passionate, angry speeches to intentionally stir up fear.
Zero says, with his usual comic twist, "Socialists weren't trying to overthrow America, but we thought the government could help out a little. And so did Franklin Delano Roosevelt, the greatest Jewish mind of the 20th century."
Joe Gilford, son of Jack Gilford and Madeline Lee (a fierce union leader who gave the committee scornful hell during her testimony), said he considered his parents patriots and heroes because they refused to name names. He considers the blacklist a witch hunt against comedy, because the jester in the court is the one who tells the truth.
A very dramatic moment happened when an audience member stood to defend her husband, saying that he only named names in order to work, and that he only gave them names that had already been named and that now his legacy would be left to "people like Victor Navasky."
This point was refuted by Jules Feiffer, who said her husband had named at least one new name. Lee Grant, praising the woman for having the courage to speak, said they all had the same chance, but that they refused to turn on their friends. What was clear was that war has collateral damage.
Bob Osborne handled the evening beautifully, asking pointed questions about the era, and taking questions from the audience.
And I was there with my handy camera, getting it all down. I will be uploading the entirety to YouTube, of course. But what a night. It was like hearing Zero Hour all over again, as every point made by Zero in the play came roaring back to flesh and blood life.
One point they continued to stress is that it can all so easily happen again. That they never presume it's over.
Tuesday, November 24, 2009
AP Reviews Zero Hour in NY.
Jim Brochu recreates a funny, volatile Zero Mostel | ||
| | ||
| By JENNIFER FARRAR Associated Press 2009-11-25 06:20 AM | | |
| ||
Zero Hour reviewed in the Examiner.
Wonderful review by Valerie Smaldone.
Jim Brochu's writing is rich and colorful and during the one hour and forty minutes that he prowls the stage, we almost believe that Mr. Mostel has come back to life, or more likely that Jim Brochu is channeling the performer.
Simply put, Jim Brochu is brilliant, the show is brilliant, and the spot on direction by Piper Laurie is brilliant. If you are a fan of the theater, of great performance, masterful writing and top notch direction, Zero Hour is a must see for this theater season. And if you want to relive the artistry of Brooklyn born Zero Mostel, now is your opportunity to do it.
Jim Brochu -- The Stories Continue.
You might recall that Jim and Piper did a podcast with Joel Markowitz back when Zero Hour was playing in DC.
Part two of the podcast is now posted. Here is how Joel describes the interview:
Part two of the podcast is now posted. Here is how Joel describes the interview:
When Jim Brochu was here with his solo show about the great Zero Mostel, he and his director Piper Laurie talked with Joel about creating Zero Hour.There was more to the conversation which we’ve saved til now to celebrate Zero Hour’s opening Off-Broadway. So relax, and listen as Jim Brochu, surely one of the greatest storytellers ever, shares backstage stories about his encounters with Barbra Streisand, Katherine Hepburn, and the afternoons spent playing backgammon with Lucille Ball in the last year of her life which he later turned into a book “Lucy in the Afternoon”.
Joel had two stories he was dying to hear from Piper Laurie – how she began her flower diet, and her starring role in the movie “Carrie”, both of which she tells with great relish.
The interviews end on a high comic note as these two friends recall their worst moments on stage, and Piper shares her secret name.
Zero Hour plays through January 31st at St. Clement’s Theatre, 423 West 46th Street (between 9th and 10th Avenues). For tickets, call 212 239-2969 or go to telecharge.com
Bialystock & Bloom!
At the Oscar Hammerstein Awards honoring Bock & Harnick, Jim poses with Jason Graae. Now, if that's not a great cast for The Producers, nothing is!
Opening night for Zero Hour
I have so many photos and so much video, I don't even know where to begin. Last night, Jim sang for the Bock & Harnick Tribute for the York Theatre Company. The night before was opening night with a party at Sardi's. I uploaded the photos to my Facebook account, and will be cross posting them here soon.
But this is Jim's first day off in what seems like an eternity. I have a feeling he's going to be sleeping all day long.
Meanwhile, from Theatremania, comes this photo of Jim posing with original cast members of the legendary musical, FOLLIES.
Celebrating after the show at Sardi's were three members of the original Broadway cast of Follies: Victoria Mallory, Kurt Peterson, and Harvey Evans.
But this is Jim's first day off in what seems like an eternity. I have a feeling he's going to be sleeping all day long.
Meanwhile, from Theatremania, comes this photo of Jim posing with original cast members of the legendary musical, FOLLIES.
Celebrating after the show at Sardi's were three members of the original Broadway cast of Follies: Victoria Mallory, Kurt Peterson, and Harvey Evans. Monday, November 23, 2009
Reaching Across The Ocean for Caleb Rixon.
Way across in the ocean, in Australia, there is a young theater performer named Caleb Rixon, who was struck down physically. So, all the Austalian theatre stars are gathering together to do a benefit for him. Will Conyers, from Broadway At Bedtime radio show, asked me if they could sing "When You Care." Of course I said yes. Here is the press release.
One night only - Chapel Off Chapel - Monday 7th December @ 7:30pm.
For bookings, call Chapel Off Chapel on 03 8290 7000 or via the web: http://sa2.seatadvisor.com/sabo/servlets/EventSearch?presenter=AUCOS&event=SECONDCH
All tickets just $49. All proceeds going to Caleb Rixon.
MEDIA RELEASE
19 NOVEMBER 2009
A SECOND CHANCE – AUSTRALIA’S MUSICAL THEATRE STARS PERFORM
TO SUPPORT CALEB RIXON
Some of the biggest names in Australian Musical Theatre are banding together to perform at a Charity Concert to support Caleb Rixon.
Confirmed performers on the night include SHARON MILLERCHIP (Chicago), RHONDA BURCHMORE (Eurobeat), JAMES MILLAR (Company, Oklahoma), CHELSEA PLUMLEY (Sunset Boulevard), ALEX RATHGEBER (Les Miserable – West End) and many more - cast members from CHICAGO, WICKED, CATS, JERSEY BOYS and MAMMA MIA.
Caleb Rixon grew up in Geelong, graduated from WAAPA, had appeared in Altar Boyz and had just been cast in CHICAGO, when, on November 17th, at the age of just 23, Caleb suffered a Grade 5 Subarachnoid Haemhorrage (Stroke) due to a Dural Arteriovenous Malformation (DAVM- Cause of Stroke). What this indicates, is that he had the most severe grading, of a rare type of stroke, due to a tangle of arteries and veins that were weaving within the lining of his brain.
He had many complications after being in a coma, on life support and in a highly sedated state. Since then, Caleb has had to re-learn how to walk, talk, swallow, see and breathe again.
Ongoing treatments are often holistic in approach whilst he undergoes intensive rehabilitation. Caleb may require Major Surgery to help correct his paralyzed vocal cord, thus helping him achieve a more powerful speaking voice.
A Second Chance will be a night of celebrating Caleb’s amazing survival and resilient spirit and will help to raise funds for his continuing rehabilitation.
One night only - Chapel Off Chapel - Monday 7th December @ 7:30pm.
For bookings, call Chapel Off Chapel on 03 8290 7000 or via the web: http://sa2.seatadvisor.com/sabo/servlets/EventSearch?presenter=AUCOS&event=SECONDCH
All tickets just $49. All proceeds going to Caleb Rixon.
Media enquiries contact Neil Gooding Productions 0410 502110 or E: neil@goodingproductions.com
New York Reviews Begin to Flood In.
Links here are from BroadwayStars.com, which collates theatre stories.
[ Variety ] Reviewed by Sam Thielman
"Everything is less than zero," sang Elvis Costello in 1977, and if anyone would have wholeheartedly agreed, it was Zero Mostel. Jim Brochu paints a remarkably sympathetic portrait of the famously egomaniacal performer in his solo show Zero Hour, about the life and times of a guy who survived everything from the blacklist to a disagreement with an out-of-control bus and still managed to thrive. Writer-performer Brochu, who's been doing the show for years, nicely mimics Mostel's blustery style and tosses off an assortment of the actor's best Borscht-belt gags into the bargain.
[ BackStage ] Reviewed by Erik Haagensen
Jim Brochu not only creates an astonishing physical resemblance to Zero Mostel, capturing his distinctive body language and vocal patterns, Brochu goes deep under the skin to reveal the man's complicated psyche and conflicted soul.
[ TheatreMania ] Reviewed by David Finkle
Jim Brochu gives a remarkably accurate performance as actor Zero Mostel in this entertaining solo show.
[ CurtainUp ] Reviewed by Simon Saltzman
Zero Hour is an informed, absorbing, highly entertaining one-person play written by and also starring Jim Brochu. It happily serves not only as a showcase for the actor but also as a delectably insightful homage to the great comic/dramatic actor Zero Mostel.
Sunday, November 22, 2009
"Are You...?"
Last night, I was walking through the theatre district in front of a very popular show. Outside, they have barricades set up with guys standing behind them for crowd control, but it was early, so no one was in line yet.
As I passed by, one of them shouted, "Hey, Lawrence Olivier!"
I stopped dead in my tracks, looked over at them and said, "Is it safe?"
As I passed by, one of them shouted, "Hey, Lawrence Olivier!"
I stopped dead in my tracks, looked over at them and said, "Is it safe?"
Saturday, November 21, 2009
Why Actors Go Insane.
Want to know why actors go insane?
Last night, the audience -- about 2/3 full -- was the quietest we've had since arriving in the city. They were watching Jim as if studying him for an exam. The usual funny lines got laughs, but they were subdued.
And, contrasted with the night before, where the house was rocking with laughter as if attending a vaudeville, it was about as disconcerting as it gets. This is why live theater can be so maddening.
As a performer on stage, you can't read the audience's mind. All you can do is feel them. Or try to.
Watching Jim, I could tell he began working just a little harder. All actors do it, especially at the beginning of a run where you don't quite know what to expect. Quiet audiences tend to bring up a little panic inside. Are they hating it? Are they bored? What if I push this line here? Or make a bigger gesture there? (Jim told me afterwards that about halfway through act one, he gave up and just decided to trust the material. He knows he should do this anyway, but he's also the playwright, so the wheels are turning inside his head all the time, reassessing what's there.)
Anyway, eventually he gave up trying to "entertain" and just played the show the way he knows to play the show. The audience response stayed relatively the same.
Until the end.
At the black-out, it was like a bomb was set off.
The audience literally exploded. Shouts and hurrahs! Curtain calls. BIGGER than the night before, where they seemed like they were on a thrill ride.
People stayed after the show and practically mobbed him with praise and picture taking.
Afterwards, when we talked about the night, he said, "I've never been so surprised in my whole life. Was this the same audience? They exploded!"
Yeah, they did. But that's what happens when people are so into something. They don't really want to break the trance with laughter. They're beyond it. They're involved. They studying it. They intensely connected.
And that's why actors (and singers and jugglers and magicians) go insane. Because audiences make us insane.
Last night, the audience -- about 2/3 full -- was the quietest we've had since arriving in the city. They were watching Jim as if studying him for an exam. The usual funny lines got laughs, but they were subdued.
And, contrasted with the night before, where the house was rocking with laughter as if attending a vaudeville, it was about as disconcerting as it gets. This is why live theater can be so maddening.
As a performer on stage, you can't read the audience's mind. All you can do is feel them. Or try to.
Watching Jim, I could tell he began working just a little harder. All actors do it, especially at the beginning of a run where you don't quite know what to expect. Quiet audiences tend to bring up a little panic inside. Are they hating it? Are they bored? What if I push this line here? Or make a bigger gesture there? (Jim told me afterwards that about halfway through act one, he gave up and just decided to trust the material. He knows he should do this anyway, but he's also the playwright, so the wheels are turning inside his head all the time, reassessing what's there.)
Anyway, eventually he gave up trying to "entertain" and just played the show the way he knows to play the show. The audience response stayed relatively the same.
Until the end.
At the black-out, it was like a bomb was set off.
The audience literally exploded. Shouts and hurrahs! Curtain calls. BIGGER than the night before, where they seemed like they were on a thrill ride.
People stayed after the show and practically mobbed him with praise and picture taking.
Afterwards, when we talked about the night, he said, "I've never been so surprised in my whole life. Was this the same audience? They exploded!"
Yeah, they did. But that's what happens when people are so into something. They don't really want to break the trance with laughter. They're beyond it. They're involved. They studying it. They intensely connected.
And that's why actors (and singers and jugglers and magicians) go insane. Because audiences make us insane.
Friday, November 20, 2009
Touching Article by Peter Filichia
When Jim sat down to be interviewed by Peter Filichia, they both realized they were witnesses to a New York/Broadway scene that has long died. So, the article Peter wrote on Theatremania is just beautiful.
Subscribe to:
Posts (Atom)