Two Shows?????!!!

Manhattan Theatre Source's Estrogenius Festival presents five, thought-provoking plays by some of today's hottest playwrights. For week two of the 2009 festival, the following plays have been selected:

• The Big Bend by Isabella Ides
• Save Yourself for You by Joshua Conkel
• Overnight by Natalie Bates
• Last Meal by Julia Harman Cain
• Dorothy Parker is in the Bath by Laurel Ollstein


LAST MEAL stars Paula Hoza and Alexis Thomason and is directed by DeLisa M. White.

Wednesday October 7 to Friday Oct. 9 at 8pm
Saturday Oct. 10 at 3pm & 8pm
Tickets $18

To buy tickets - go to https://www.ovationtix.com/trs/cal/931/1254438250675



ManhattanTheatreSource
177 MacDougal St, NY NY 10011
email: estrogenius.festival@gmail.com

212.260.4698




THE UPPER BERTH
A solo performance

Adapted from the classic ghost story by F. Marion Crawford

Greg Oliver Bodine performs this spooky, nautically-themed one-man play outside on the Buoy Deck of the Historic Lighthouse Tender, LILAC, docked at Pier 40 on the Hudson.

THE STORY: Pier 40, New York - October 1939. On the eve celebrating the transfer of the LILAC to the United States Coast Guard as the country prepares for war. The evening's Master of Ceremonies, Mr. E.F. Brisbane, recalls securing a haunted berth on another steamship, Kamtschatka, bound for Liverpool. He requests a state-room with a double bunk and is disappointed to learn that he will have a roommate in the upper berth. During the first night of the voyage, his roommate runs screaming out of the small room and throws himself overboard. Brisbane learns that three other men who booked into Room 105 have killed themselves in the same fashion, and he is determined to investigate matters that begin to strike him as altogether ‘supernatural.’

WHERE: on board the Historic Lighthouse Tender, LILAC, docked at Pier 40 / North Side (intersection of West St. & W. Houston St.)

WHEN: Thursday, Oct. 8 & Thursday, Oct. 15 at 7:00pm and 9:00pm. Two nights -- four NY performances only!

TICKETS: $10 (at the door). No reservations accepted, sorry. Box office opens at 6:00pm. Arrive early -- seating is limited!

DIRECTIONS & PARKING: By Subway: Take the #1 train to Houston St., walk West to the Pier 40 Building. Turn right (north) to the walkway on the north side of the building. The LILAC is docked at the end of the walkway. Parking is available at Pier 40. The LILAC shares the walkway with other commercial cruise boats, so there may be lines at the entranceway. Just go straight to the entranceway and let them know that you are visiting the LILAC, and you will be ushered past any lines.

All aboard for this nautical treat of thrills and chills! Suitable for adults and for children (ages 12 and over). Running time: approx. 40 minutes. Written & performed by Greg Oliver Bodine*. Directed by DeLisa M. White.

Cash bar & concessions on board. 50% of ticket proceeds directly benefit the restoration and preservation of the LILAC -- New York's last historic steamship!

Come see CROSSROADS - a new play!

What: CROSSROADS

By Meri Wallace
Directed by DeLisa M. White

Featuring: Leah Vanessa Bachar, Edgar Caraballo*, Nat Cassidy*, Erinn Holmes*, Annalisa Loeffler, Kristopher Monroe,* Julio Neira*, Ron Sanborn*, Jason Xaysittiphone and Sheila York.* The production is an Equity Showcase.

Stage Manager: Laura Schlachtmeyer
Lighting Designer: Lauren Parrish
Fight Choreographer: Gregory Oliver Bodine
Sound Designer: Alan Dolderer
Costume Designer: Catherine Fisher
Produced by Howling Moon Cab Company

SYNOPSIS:
At the Crossroad’s Hair Salon, styling hair is a breeze compared to the employee’s personal lives. From infidelity, abuse, denial and outright lies (to others and to themselves), these employees are having the ultimate (and seemingly infinite) “bad hair day” in Meri Wallace’s comedy-drama CROSSROADS at the Midtown International Theatre Festival. When their boss decides to sell the shop, Angela and Nicole pool their resources in attempt to buy it and really stand on their feet for the first time in their lives. However, it’s not long before a deliberate act of violence may change the course of everybody’s future. Can the employee’s come together to repair the damage done, or will the scissors be silenced forever??




WHERE:
WorkShop Theatre, MainStage Space

312 West 36th Street (between 8th & 9th Avenues)
4th Floor
Part of the Midtown International Theatre Festival

(Please note: the theatre is wheelchair accessible)

WHEN:
July 16th – August 2nd
Thursday, July 16th at 8:30pm
Sunday, July 19th at 12pm
Wednesday, July 22nd at 9pm
Friday, July 24th at 7pm
Monday, July 27th at 6:30pm
Sunday, August 2nd at 6pm

TICKETS: $18.00.

RESERVATIONS: 866-811-4111 or www.midtownfestival.org.

SUBWAY INFO: Take the A, C, E, 1, 2, 3 Trains to 34th Street

Augusto Boal (1931 - 2009)

This is an extraordinary post from an amazing teacher about a truly important artist and one of my great lifetime influences as well. It could never have been said better. Thank you, Shakespeare Teacher...

The Yellow Wallpaper

Come see...

THE YELLOW WALLPAPER
a new one-woman play
adapted from the classic short story
by Charlotte Perkins Gilman

Adapted by Greg Oliver Bodine
Directed by DeLisa M. White
Starring: Annalisa Loeffler

What if the one person who has vowed to love you… for better or for worse… in sickness and in health… took you away… from everyone that you cherish? From everything that sustains you? In essence, the sum of yourself. Where would you go? What would you do?


THE YELLOW WALLPAPER tells the shocking story of one woman’s isolation, obsession, and descent into madness.

The Story: New England, 1891. Jane, a sensitive and imaginative woman, finds herself sequestered on a remote estate that her husband, a physician, has rented for the summer. She is forbidden to write, and must hide her journal entries as she recuperates from what he has diagnosed as a "temporary nervous depression” following the birth of their baby. Without anything or anyone to stimulate her, Jane becomes obsessed by the wallpaper in her bedroom as the effect of her domestic oppression and stifled creativity begins to take a toll on her sanity.

Costume Design by Jeanette Aultz Look
Lighting Design by Lauren Parrish
Asst. Director / ASM: Jenny Rosenbluth
Stage Manager: Laura Schlachtmeyer

Limited engagement: 2 performances only!

Monday & Tuesday
March 23-24 at 8:00pm
Tickets: $15
Reservations: (212) 501.4751
www.ovationtix.com/trs/pr/640655

Note: Due to stage configuration late comers will not be seated.

We've got tonight....

So it looks at this point that the show itself will have more surprises than the winners, but I'm hoping I'm kind of wrong. Not in all categories. Just in some? Here's my "will" and "should" picks for tonight:

Best Pic:

Will Win: Slumdog Millionaire
Should Win: Milk

I truly think our children will be astonished if MILK doesn't win Best Pic as they'll all be required to see it in history classes when studying civil rights. It's also - incidentally - by FAR the best film on the list. The Slumdog love affair will, I think, look very naive and silly...it's the CRASH of this year.

Best Actor:
Will Win: Mickey Rourke
Should Win: This is an exceptionally impressive category, there'd be no one I'd be unhappy with winning. Rourke will give the best speech and by a slim margin Penn is the "should" winner.

Sean Penn is one of my least favorite all-time (over)actors. But his work in MILK is subtle and seamless. It's the best performance of his career. He's unrecognizable in it. I would have to vote for him in good conscience (which I did for the Indie Spirit Awards), but I'm perfectly happy for a Rourke win.

Best Actress:

Will Win: Winslet
Should Win: Winslet

There's a weird scenario where Streep and Winslet split and Leo or Hathaway surprises. But it's likely Winslet's LONG OVERDUE night finnnaaalllyyyy and I'm very much looking forward to it!!! :)

Best Supporting Actor:

Will Win: Heath Ledger
Should Win: Heath Ledger

Nuff said.

Best Supporting Actress:

Will Win: Penelope Cruz
Should Win: It's tight but I'm going to go with Viola Davis.

Tomei is astonishingly good in a role that no where near written as well as she plays it. Everyone else is terrific, including Cruz (who in some ways gave this same solid performance in BLOW) but I'm pulling for Davis who manages to convey - not a string of subtext - but a full TAPESTRY of subtext in a few short minutes. It's the best short story you've ever read and it's all in her face.

Best Director:
Will Win: Boyle
Should WIn: Fincher

Boyle's work is impressive. It is. But Fincher actually achieves the most impressive technological feat presently imaginable in cinema and he does it all to serve the story, the humanity and the sometimes brutal truth of life and death and everything in between, without EVER pointing out his own prowess (unlike Boyle) and saving the films most powerful moments from the surges of sentimentality in the script.

Adapted Screenplay:
Will win: Slumdog
Should win: Doubt

This is a pretty middling category actually. The screenplay is the thing I have the most problem with in Slumdog, but it's pretty much a shoo-in here. If this is BUTTON's "consolation prize" I may be inconsolable as the screenplay is singlehandedly the worst thing about it.

Original Screenplay:

Will Win: Milk
Should Win: Milk

In fact, if it doesn't win - then wherever you are - you will hear a vague screaming and smashing coming from somewhere in Brooklyn....

Best Documentary:

Will Win: Man on Wire
Should Win: Encounters at the End of the World

Otherwise expect lots of well deserved technical awards for Button and annoying amounts of self-congratulations for the love affair with Slumdog (as if that somehow makes the Academy "humanitarians by proxy")... Last note: If Dark Knight wins Sound Editing I might break something. It's got TERRIBLE gaps and sticky mixes all over it.

Enjoy!!!! :-)

The Wrestler - A Review

THE WRESTLER may not seem like a new story. In fact it covers a lot of what we might think is familiar ground. The has-been looking for redemption, the stripper with a heart of gold and the disgruntled daughter are hardly new fodder for film. But the lack of showcase shots and the earnest, committed and infinitely understated performances - particularly by Rourke whose performance is a master class in completely inhabiting a character for the characters sake, rather than the actor's acclaim and consequently is sooooo rightly acclaimed - succeed in making us understand the complexity and ubiquity of the formulas on which they are based. While the has been athlete has a legendary treatment in Raging Bull - the wrestler succeeds not in evoking that precendent, but in unexpectedly mining the flaws and crippling failure that follows any and every man who has invested all of his self-worth in his work, no matter how spectacular or mundane the profession may be. At first, I wanted to take issue with the screenwriter for falling into formula, but as the movie settled in, it became ever so clear that the banality and brutality of the context of minor league professional wrestling gives us opportunity to refresh the formula and recapture it's emotional power. Note, that much like Darren Arronofsky's previous work, particularly REQUIEM FOR A DREAM, there are moments in the film that are not at all for the faint of heart. The brutal toll these men take for entertainments sake, no matter how "fake" the outcomes of matches are - is shocking. Arronofsky's direction is stunning, mainly because it's it's simple. PI and REQUIEM (two films close to my heart) make clear the showy cinematic wonders of which his camera is capable, but rightly and generously he foregos all of them to achieve the timeless mandate of a film director, which is to show you want you need to see, in precisely the way you need to see it. It's masterful - much like Rourke's performance - because it doesn't appear to be or announce that it is. It's dramatic and profound because he revels in precisely the moments that filmmakers have been cutting out of movies since their birth. A swig of beer, a silly thank you card, a a scoop of potato salad, a brief and somewhat awkward kiss...these are the tentpoles of life. Arronofsky honors our lives and his audience by lingering on them and leaving so many questions unanswered. Just like life.

WWOW - The Shadow of February

February 2nd is Groundhog Day, a day when everyone anticipates the groundhog seeing his shadow because it's a harbinger of spring, along with baseball's spring training and the first robin. Around these parts, however, February 7th is the day that fills us with anticipation, because it means we'll be seeing The Shadow, and that just means a really good time.

Both shows are already reserved full, but we get cancellations right up until the day of the show, so you might want to call the number below frequently and see if any seats have opened up. Also, if you're near the bookstore that evening, we start a waiting list about a half-hour before each show time. Again, often groups wind up being smaller than expected or people don't show, so there's a good chance of getting in.

Here’s the lowdown:


THE DATE:

February 7th


THE SHOWS:

THE ADVENTURES OF SAM SPADE: "The Tears of Night Caper"
THE SHADOW: "The Isle of the Living Dead"


THE CAST:

Alan Dolderer, Heather Edwards*, Karla Hendrick*, Michael H. Johnson, Annalisa Loeffler, Rebecca Roe*, Bob Rutan, Steve Viola and DeLisa M. White
(* denotes member of Actors' Equity Association)


WHERE:

Partners & Crime Mystery Booksellers
44 Greenwich Avenue (between Sixth and Seventh Avenues), NYC

TIMES:

6 PM, repeated at 8 PM

PRICE :

$7

FOR RESERVATIONS & INFORMATION CALL:

212-462-3027


Hope to see you there!

Deranged Penguins and other Encounters at the End of the World

Werner Herzog - the filmmaker whose documentary ENCOUNTERS AT THE END OF THE WORLD – just received an Academy Award nomination – once made good on his promise to eat a shoe (yes EAT A SHOE) as a motivation ploy for fellow filmmaker Errol Morris. It worked, Morris’ classic GATES OF HEAVEN was completed and released, and made the name of it’s now legendary filmmaker.

This anecdote should tell anyone, whether their familiar with his work or no, that Herzog is wackier than your average bear (his last film was GRIZZLY MAN, get it? Get it? heeehehhheeee :-)), and - btw - no less effective.

ENCOUNTERS AT THE END OF THE WORLD chronicles Herzog’s trip to the South Pole. He makes it clear from the get-go that this is no travelogue, no NOVA episode, and no romantic mediation on the demands of life as a cute penguin. His explorations have the same wanderlust as its subjects, whose reasons for being at the South Pole count as many as there are inhabitants of this unfriendly terrain. Herzog avoids entirely the “checklist of important facts” approach of so many television science docs, instead asking the kinds of random questions which beset any curious mind in a bizarre environ. Nor does he over-sentimentalize. Herzog’s voice sways from so many extremes that he could seem scattered. He could, that is, if these switches didn’t ultimately create a strange kind of balance. Just when you think Herzog is getting uncomfortably pretentious, he undercuts himself with self-aware humor. Just when he’s exploring the banal disappointments inherent in any visit to an exotic locale, he side swipes you with images full of true wonder. And where the film finds its most haunting resonance, in: the futility of nature, the isolation of the truly unique, the delay of science, the potential of extinction, etc. Herzog is savvy enough – and generous enough as a filmmaker - to refrain from stating those themes too explicitly. Instead, Herzog invites the most powerful ideas swim through the audience’s thoughts like the deep sea divers under the world’s icebergs, who inspired his adventure in the first place...

Surprises!! Yay!!!

There seems to be a rather annoying delay on getting the full list posted on www.oscar.com... urgh...but from what we got from the TV announcements - just a couple of thoughts:

- They reaaaallllly liked the READER and really DIDN'T like REVOLUTIONARY ROAD, eh?
- Melissa Leo and Richard Jenkins!!!!!! YAY!!!!!!!
- Sorry, Sally Hawkins.
- No DARK KNIGHT for pic or director but THANK HEAVEN MILK wasn't overlooked.
- The sheer number of BENJAMIN BUTTON nods gives it alot of momentum back....

Man on Wire - A review

Over the years, from time to time, my beloved friend and intrepid journalist Kate Luce Angell has taken me to see people do the following things (among others):

• swallow swords,
• swallow neon tubes in a sword shape,
• walk on blades of swords,
• lie on beds of nails,
• lie on a bed of nails while sandwiched between another bed of nails that people stood atop,
• eat fire,
• eat GLASS….

…well, you get the picture.

See, she’s been working on a book about the resurgence of Sideshow. She’s a great writer and it’ll be a fascinating book, I’m sure. I tagged along partly because I love her, partly because she has a way of explaining things that makes anything sound interesting, and partly because, well, I’m game.

But at some point (I think it was around the time I saw a guy in Soho tape a bunch of firecrackers to his chest and then light them), the “side show” experience went from curious to profound.

See, first off, side shows differ from magic shows in that there’s no trick. Prior to Kate’s exploration of this world and her introducing me to it, I didn’t really realize that. I may have sort of known it, but I didn’t REALLY know it.

People ACTUALLY swallow swords. They ACTUALLY make themselves the meat in a bed-of-nails sandwich. They ACTUALLY eat glass. They are not a-foolin.

Some part of me had always assumed swallowed swords were retractable or something. But no, these people are truly taking bizarre (I mean that in a good way) health risks for our entertainment. There are parameters and necessary requirements for how to do those things so you don’t die INSTANTLY, of course, but the acts themselves and the risks for injury - however well calculated – are real.

For some people, that’s automatically thrilling. The potential for violent injury has a well-earned place in our recreational lives and rears its head in everything from car races to action films. And it should. Confronting and exposing ourselves to things we fear is how we conquer those fears. The process of desensitization is a necessary one or we’d spend our entire lives locked up in a padded bunker.

But what captured my interest was something less reactive and more inspiring. It struck me that these people were staring human limitations – and all notions of impossibility - in the face and defying them. That they shared this defiance with us for our entertainment wasn’t just for our curiosity, but for our liberation. While watching these irreverent souls defy physical limitations, I found myself realizing that “Achieving what is presumed impossible doesn’t rest only with astronauts or Olympians, but with anybody who chooses to re-make the rules of their own bodies.” As we all age, the risk of becoming prisoners to the hue and cry of our bodies aches and pains increases. It’s startling to find new limitations in your own skin. But here are people who artfully refuse to accept the should/shouldn’ts or can/can’ts. They remind us that as crazy or foolish as these acts may seem, you can’t call them impossible.

So when ones of the interviewees in MAN ON WIRE, the James Marsh documentary (newly available on iTunes) about Phillippe Petit’s stroll across a wire connecting the Twin Towers describes his feat as “profound,” I knew what he meant.

Because I’d seen the Sideshow.

But not because of MAN ON WIRE.

MAN ON WIRE is getting what seems to be uniform critical acclaim this awards season and is on the short list for Oscar. One can see why - it’s deftly constructed, sharply paced and has a compelling story.

But it left me quite cold.

James Marsh quite rightly makes no mention of the demise of the Towers. It would be inappropriate and exploitative. But the unspoken end of the story hangs over the piece like a dark and thunderous cloud. Perhaps in light of the extremely dark end of the Towers, Petit’s act seems to many to be particularly defiant, inspiring and glorious. But it struck me instead as frivolous. That could be just “where I’m at” with regards to the Towers, but I’m more inclined to blame the film, and I’ll tell you why.

Marsh has indicated in interviews that part of his attraction to the story was his sense that it provided much the thrill of a good heist movie. I love me a good heist movie. I love the Robin Hood quality of a rag tag group of guys going up against the system and getting their own little slice of the big pie. I love the craft and suspense of the well-laid out victimless crime. The film plays into that delight, as the films beginning involves THOMAS CROWN AFFAIR style behind-the-scenes glimpses of the fake ids and disguises used to gain access to the Towers.

MAN ON WIRE would have likely filled me with the same delight, if it weren’t for that ever present cloud. If it had been any other building, I too, might have thought it was thrilling and exciting. But the source of the suspense – that the gang Petit needed to support his elaborate goal might get arrested – seemed well, just irresponsible compared to the security needs of buildings which ultimately suffered three terror attacks, finally being felled by the last two. Marsh invites you to revel in the “crime”, which for me, simply served to remind me of crimes inextricably associated with those buildings and therefore made me feel a lot less sympathetic to criminals, as harmless their particular crime may seem. Rooting for Petit to succeed in his impertinent quest - and engagement with the film requires that we see Petit as the righteous perpetrator of a victimless crime against a large institution - is difficult in light of the victims that the Towers and their tragic inhabitants became. And frankly, the idea of his potential death in pursuit of an acrobatic dream feels not romantic and idealistic, but disrespectful and narcissistic compared to those who felt no choice but to drop that distance as the Towers burned.

I know I’m being DeLisa Downer here – I get that - and I’m glad for whoever might feel inspired by the film. But next time I need to see something “out there” and “silly” to remind me to set goals beyond my easy reach, I’ll be out at Coney Island looking for a man with a sword in his stomach.

Baffling BAFTAs

Well, some HUGE surprises at the BAFTA's!!! And as my friend, E, knows - I've said for years - NEVER underestimate the impact of the British wing of the Academy. Anne Hathaway was completely denied, which after the GG loss makes her chances of winning look dead, dead, dead in the water. Brad Pitt got DOUBLE nods (for BENJAMIN & BURN AFTER READING) so he's moved solidly into second place with Penn behind Rourke. If Rourke's publicist takes so much as a weekend off in the next couple of months and he gaffes it up, Pitt could pull a surprise, as Penn already has a statue on the mantle... The Changeling did surprisingly well all around, which bodes very well for Angelina to secure a nod after being passed over last year for MIGHTY HEART, but decreases Eastwood's chance of an acting nod for TORINO. Winslet increases momentum with her double nods, but a READER nod in the Lead category confuses the issue a wee bit. DARK NIGHT misses a Best Pic nod, but it got so much attention in the technical awards that I doubt that will have to much of an impact on its chances for Best Pic Oscar nod. Amy Adams picked up momentum, but Supp categories are always full of surprises so that hardly takes Viola Davis out of the picture.

The HUGE shocker????? Absolutely no mention of HAPPY GO LUCKY at all whatsoever. None. In ANY category. Was it not eligible for some reason??????? How could this be possible? It's a British film. By a beloved and legendary British Director. Sally Hawkins has been on an award parade. What happened there???

We are ONE week away from hearing the Oscar nominations. The BAFTA surprises suddenly make the roster seem more intriguing than they have in weeks!!! :-)

Oscar short films to be shown in theaters (yay!!)

(from AP) Shorts International has just announced that it will bring the Oscar-nominated short films (we'll know what they are when the nominations come out on Jan. 22) in the live-action and animated categories to U.S. theaters on Feb. 6, giving us a chance to see the quirky, fun, moving films before the 81st Academy Awards ceremony on Feb. 22.

De-Lisa and De-Lurking Day!!!!

Hey Cats and Kitties!!!
So it's officially de-lurking day, which means if you're a DeLisa OnLine reader and haven't made a comment, it's a good day to come out of the closet and comment on sumpthin. No pressure - just welcome....

Goldie Locked Up

Okay – so CLEARLY everything has changed. Of course Oscar ballots are due TODAY, so if the Academy were to trump SLUMDOG for DARK NIGHT or MILK it’s game on, once again. And with BUTTON having lost momentum it’s wide open once again. There were many surprises, but all great ones, no? I could not love everyone associated with SLUMDOG more. They are divine and adorable. I look forward to actually seeing it and likely giving you my glowing review once I do ;)

And can you say KARMIC RETRIBUTION for Ms. Winslet who was the best thing about the night!!! (She was also the most beautiful woman in the room on the inside and out although the ever stunning Laura Linney gave her a run for her money. ) Sally Hawkins win and Oscars’ past attention to Mike Leigh’s leading ladies bodes well for her, although let’s hope she eats something before March so she can have the strength to carry a clutch purse...

All right, now – not everything has changed. Mickey Rourke? Sewn-to-the-up. Of course, I stopped the Tivo just before his began his speech and turned to my very patient and enabling companions (I love you A&T!!!!) in watching the program and said “He wins or loses the Oscar in the next two minutes.” Clearly, he won it. Great speech. The doggie section was very touching and not just because I obviously love doggies, but because we all understand loneliness. And nice of him to pass off “gaffe” duties to my beloved Mr. Aronofsky (who hasn’t learned yet that he should have married me and not Rachel Weisz who I would hate for stealing him if she wasn’t so clearly awesome in every way.) And Christopher Nolan is doing an exceptional job in honoring Ledger, which must be truly difficult to rise to among the sadness we all feel for his loss...

For TV, I’m thrilled that MAD MEN got the chance to reclaim the spotlight they didn’t get a chance to shine in last year, although it would have been nice to see HAMM get a chance to give a speech. Well, it’s nice to see HAMM do ANYTHING. He’s just breathtaking. I was disappointed that RECOUNT didn’t do better, but it’s hard to argue with the Giamatti, Linney, Wilkenson and Hanks corner.

Those who know me know that I’m no fashion maven, but even I can make some obvious observations:

- How did it become the hair style of the moment to look like you spent five hours on your hair only to mess it up after you got rough and tumble with someone in the coat closet minutes before the show started? (yes, Drew Barrymore I'm talking to you)

- Furthermore - powder blue eye shadow??? Sequins??? Metallic dresses??? Do you people not realize that the only reason they got away with that at Studio 54 was because everyone was on cocaine????

- Further furthermore - strapless dresses look WRETCHED on women who don't stand up straight. The stylist who starts making actresses practice walking around with a book on their heads will make a mint this season...

- Furtherest - I’m putting Renee Zellweger on a fashion time out until Carolina Herrera recovers her mind. Or eyesight. Or both.

- Lastly, Hollywood - please note: You do not look tan. You look like a pumpkin. Please stop.

WWOW Radio in January!! :-)

Hope you'll be able to join us this Saturday for our January show, as we celebrate the birthday of that master detective, Sherlock Holmes. (He'll be 155 on January 6th, and looks pretty darned good for his age. Must be the royal jelly.)

Here’s the lowdown:


THE DATE:

January 3rd


THE SHOWS:

RICHARD DIAMOND, PRIVATE DETECTIVE: "Louis Spence Escapes"
THE NEW ADVENTURES OF SHERLOCK HOLMES: "Murder in the Casbah"


THE CAST:

Alan Dolderer, Heather Edwards*, Michael H. Johnson, Rebecca Roe*, Bob Rutan, Steve Viola, Ross Wade & DeLisa M. White (see picture above :-))
(* denotes member of Actors' Equity Association)


WHERE:

Partners & Crime Mystery Booksellers
44 Greenwich Avenue (between Sixth and Seventh Avenues), NYC

TIMES:

6 PM, and/or at 8 PM

PRICE :

$7

FOR RESERVATIONS & INFORMATION CALL:

212-462-3027


Hope to see you there!