skynyc

Text of bad review is now gone because it listed his name, but it mentioned ANGEXXL showed up high and wanted payment up front. Reviewer had issues with transferring money, whether bank error or what, wasn't able to pay. Provider became angry. Well, I'd be curious to know how many times providers show up and have clients say "Oh, I cannot access my bank, or whatever." I think provider has a right to be angry. I thought cash was still king these days. Don't know either party, but slamming a provider for showing up and getting angry after being told "I cannot pay you" seems unfair.

A High Five for Glenn Burke by Phil Bildner came out a couple years ago. A middle reader book for ages 10-14 about a baseball-loving kid who has gay feelings and learns about Burke. Terrific portrayal of going through that difficult time.

Saw an impressive show this weekend, which is around for one more week. Written in 1909 by Elizabeth Baker, it was her first play. Dealing with issues that are still daily conversation today: why do we work in jobs that we hate, having an adventure before settling down, is marriage a trap, what is your duty to your family vs. yourself. The cast is large, 11 characters, and all are terrific. The sets are a marvel...there's a scene change that earned applause. Deets: bought my ticket on TDF for a discount. 2 hours 15 minutes. Highly recommended for avid theater goers who like strong productions of good plays. If you don't know the Mint's work rediscovering lost and underproduced plays from the early 20th Century, treat yourself to this one.

They're both great choices...and very different. Mr. Saturday Night is funny, better-than-decent score, Billy Crystal doing his thing. Into the Woods is funny, Sondheim, great cast. Since you're seeing Company, I might suggest ITW as a good Sondheimian juxtaposition, but if you're not a huge fan, then Billy Crystal won't let you down.

Saw the transfer last night and it was wonderful. Works beautifully in the smaller space, which is still pretty big and was mostly sold out. Phillipa Soo and Brian D'Arcy James are both perfection as Cinderella and the Baker. I liked NPH, but BDJ adds a heart to it and has wonderful chemistry with Sarah Barielles. Patina Miller seemed not quite up to speed in act one, but was wonderful in act two. Nancy Opel makes the most of her tiny role, and Aymee Garcia is terrific as Jack's mother. I splurged on great seats and loved every second. (The St. James isn't great for leg room.) I did notice it was on the tkts board for 40% off this week. I may wait until later in the run to go once again.

I used to see him in NY and Chicago...he was getting his nursing degree and almost finished, and said he's be quitting this biz when it was complete. Wished him well. Wrote him during the pandemic to check in and to say Thank You. He didn't reply...and perhaps the number was closed.

Closing date at end of July announced this morning. Even with 5 Tonys, there are still lots of empty seats, and a large company is expensive in the summer. As of July 1, masks are no longer required, just recommended. Will be interesting to see if this makes a difference. I know two people who said they won't go to theater if they have to be masked...and several who say they won't go to theater if folks aren't masked. At any rate, the Jacobs is a popular theater and won't be empty for long.

Looking for some fun this weekend, my usual guy is still not available. Went online and amazed to see the amount of visiting "talent". I suppose there are lots of visiting admirers too, so hopefully the locals are also getting a lot of attention. Decisions, decisions!!!!

What an experience...thanks for the total share. And I do hope you'll share his name, as I am heading to Orlando in October. And as for your moment of emotion...I have had that happen a couple times. I am usually slow to cum with an escort the first time...I just am too nervous. And never while we're "doing it", usually after he's come (or pretended to). I was with a escort shortly before the pandemic and he was fucking me with just the right rhythm, and verbal goading...and I blew! Big. I was so surprised. And then I just started to sob. So embarrassed. He was awesome, and understanding. And I am excited to be heading to Chicago next week where I'm hoping to meet him again.

Was sent City of Girls by Elizabeth Gilbert who wrote Eat, Pray, Love. Tag line is "You don't have to be a good girl to be a good person." Only on page 100, but silly fun. Perfect for summer...will report back when I am finished.

Some spoilers. I saw it at Playwright's Horizons several years ago, and after the first act was laughing and loving it and thinking it really was the next huge thing...planned to stop at box office and buy tickets to another performance. But the second half mitigated that strongly. I didn't buy more tickets, and remember thinking when it won the Pulitzer that it was appropriate, especially in this time. When it transferred, I had forgotten much of my feelings about the second act and eagerly went again. Now one 90-minute act, my feelings were very much the same. It's still powerful and ground-breaking, but 90 minutes of self-loathing is hard to endure, especially when the resolution is not full of hope. The "Tyler Perry" parody at the end is ten minutes too long. We know before going in that his family hates his being gay, it's a classic (and tragic) depiction of "I don't hate you, I hate that you're gay." Well, they don't get that that means they hate him. I also think the graphic butt-fucking scene is going to make it unplayable in many places, watch out Omaha and Birmingham. Note: it isn't tittilating at all...it's a harsh depiction of a bad scene, followed by a song called "Why Did I Do That?" I admire the show...it is groundbreaking. I have highly recommended it to a very specific group of people. And I think the Pulitzer may be warranted. The night after this I saw The Skin of Our Teeth at Lincoln Center...another Pulitzer winner from 1940s. Equally groundbreaking for it's time, and equally challenging as a piece of theater. BUT I think of the Tonys as bringing theater to people around the country, and this play, I fear, will get fully half of the folks who go to see it to think "well, if this is what the theater is nowadays, I will stick to the movies."

Rumors abound of an 8 week transfer to the St. James this Fall with all but NPH, who has a prior commitment. I will readily see this again.

Actually, Lenk's vocals have improved drastically since when I first saw this in December. The first time I saw her do Being Alive I was underwhelmed. The big 11:00 number and it was "meh". I've been back a couple times with different out of town visitors and she really has gotten to where she nails it. Still within the character she's created for Bobbi, but with much more control and oomph. I would certainly have nominated her over Mare Winningham or Carmen Cusack, both of whom I enjoyed, but Lenk is in almost every minute of Company.

Take Me Out was on the half-price booth today. Probably balcony seats, but the folks who can buy from scalping agents don't know or care.

Saw this last night, a lavish production of a difficult play. Ahead of it's time for 1942, and not irrelevant today. the second act is a bit of a slog...garish and overlong (but it does evoke life before Noah's flood,) but with a jewel of a performance by Priscilla Lopez as the Fortune Teller. But the third act does redeem the evening. I don't think this play will be on Broadway again...audience was half full to start, and a third of that left at intermission. Interesting to see this 1942 Pulitzer winner two days after A Strange Loop the 2020 winner. Challenging theater must be part of the requirements. As a subscriber I had discount, great seats. And I am glad to have seen it, but don't recommend it to all, just those with a palate for allegory and nonsense. (But the dinosaur puppet itself in act 1 was almost worth the price of admission.)

Some real similarities...Lost my mom during COVID as well...she was all about gratitude. And got me writing to a number of people from the ancient and not so ancient past, just to say Thank you. Two of them were long-retired escort regulars, and I just said that I was thankful that they were part of my life. One wrote back and said he appreciated the message. Didn't open the door for more, so I dropped it, but felt good about my reaching out.

Thanks for this recommendation. A great fit. Talked music and books and then he made me his own. LOL

I just finished and sent the copy to a friend...and ordered two more for gifts for folks I am visiting this summer.

Good evening. My long-time monthly hire is cutting back, and not been available lately. I see Lance Navarro whenever he's in town. Need some quality time with a hot, nice Man. I want to share some personal info, hear about his day/life, kiss for a while, Have Hot Fun, and then unwind for a bit. If drinks or coffee are involved, that's great. Physically, I'm a bear, mostly bottom, so I am looking for a bigger guy. I work with 20-somethings, and that's not a turn on at all. I tend to be nervous with new people, so need them to be a little aggressive. Have eyed: Marco_XL https://rentmen.eu/Marco_XL/#platinum OttomobileMan https://rentmen.eu/OTTOmobileMAN (but he's back in Denver) Alfonsoo https://rentmen.eu/Alfonsoo DevinMarcus https://rentmen.eu/DevinMarcus/#platinum AlexanderTop https://rentmen.eu/AlexanderTop_xxl. new ad, seems too good to be true. A lot of the Brazilians are very appealing, and there's a time for a hot Moment with a language barrier, but this isn't it. Anyone have personal experience or suggestions?

So unfair to expect Beanie to repeat the triumph of Barbra, especially with opening scheduled on BS's 80th birthday, so she's already competing for media time on the actual day. And sadly, the reviews, are right...for anyone who saw the original, or the movie, there is no comparison. Ms. Feldman AND her director, tried to create a "new" Fannie, but she's not able to do it. I did see Leslie Kritzer's version at Paper Mill twenty years ago and she did do it. I fully expected that production to come into town. But as pointed out, it's not just Feldman...the production is cheap looking and sadly, unnecessary. (And I am seldom this harsh.)

I suspect POTUS is going to be the hot ticket of the summer. Riotously funny, with a cast that is amazing. This laughing evening was a salve for a long day. Like so many farces, I thought the end fizzled a bit, but it reminded me of a road trip to an amusement park with great friends, a great playlist, great views, and great snacks. Just as you pull into the parking lot, it starts to rain, but it doesn't matter at ALL because the journey was SO MUCH FUN. I don't want to give anything away, but the audience starts to laugh with the first word. A fabulous set (the stage crew is working SO hard) by Beowolf Boritt captures the gravitas of the White House and the fun of a farce with great movement, slamming doors, and funny, (dangerous) props. The cast is a spectacular ensemble with perfect timing which is required to make this kind of show work. Director Susan Strohman has created theater magic again. The only actor I didn't know, Suzy Nakamura, has the toughest role...playing straight to everyone around her, and does it seamlessly. And the scenery chewing by Rachel Dratch, Lea Delaria, Vanessa Williams and Julie White is stunning. Lilli Cooper and Julianne Hough both hold their own beautifully with these comedic pros, and Ms. Hough has a show-stopping moment...can't say more. The subtitle of the show is; Or, Behind Every Great Dumbass are Seven Women Trying to Keep Him Alive. Well, every dumbass in the audience was loving these seven women. The deets: I bought my great mezzanine tickets for $50 using on first-day-of-sale discount code. It's on TDF right now, but the word of mouth is great, and they've even rushed their opening to be able to be eligible for this season's Tonys. If I was on the Board of the Tonys, I would (finally) create an Ensemble Award for this entire cast to be considered. I cannot imagine nominating one over the others. With the star-power in this cast, the buzz this is getting with every performance, and knowing it's a limited run (- only until August), I think this show will sell out. The fact that the world needs to laugh right now is going to help. BroadwayBox.com has a good discount now which won't last...I just used it to get another pair.

Sorry...I never know if I should post lousy reviews, don't want to spoil for those with tickets, or stop people from getting tickets and supporting live theater. I guess I classify it in the "managing expectations" category.

Sadly, this may be my biggest theatrical disappointment of all time. I enjoyed Beanie in Dolly and in a couple Youtube things, didn't see her Monica Lewinsky. I hoped that the producers had ensured she could pull it off. She really didn't, at least not last night. She had some pitch issues, and was not directly to deliver the lines well...many of her quips went flat. And her costumes were hideous. The original Fanny was quirky looking but fashionable. Most of Fanny's dresses here accentuated her weight, and were in hideous colors. The ensemble, however, had lovely costumes. Tap choreography was amazing and Jared Grimes as Eddie is a really highpoint. However the two other major dance numbers, Henry Street and Sadie, Sadie looked like they were onstage at a college production. Jane Lynch didn't disappoint, and Ramin Karimloo has nothing to sing to show off his voice. (And he had no chemistry with Beanie.) The set is a large floating turret, that kept making me think of the Tower of London and takes up the center third of the stage and makes the Ziegfeld numbers look small. I had spent a lot for me, getting front row mezzanine with the first discount code I found, so our seats were pretty idea. Despite my disappointment, I had a good night in the theater, with a friend on one side and three nurses visiting from Louisiana on the other side. They were enjoying it greatly and that was fun to see. They were also seeing Wicked, Hamilton, and Music Man on this trip, so their enjoyment would only improve.

I've now seen this production of Company four times. I had tickets for St. Patricks Day 2020, and obviously missed. These tickets were moved to April of this year, but I didn't want to wait until April when performances started in December, so I got it on TDF and enjoyed it. A friend came in over Christmas and really wanted to see it, so I went again with him...again on TDF. And in February when Patti LuPone was out, I went back to see Jennifer Simard play Joanne, which was very different and very enjoyable. Finally saw on my original tickets at a Saturday matinee and show was in best shape of all. Katrina Lenk sang the hell out of it, her best Being Alive to date for me, and Matt Doyle's breakdown during Not Getting Married Today was just heartbreaking. Claybourne Elder's dumb blond flight attendant is riotous, and his ripped torso in Barcelona is a treat to see. The moving of the COMPANY letters was such a clever directorial device, whomever the standbys in this show have to really know what they're doing. Someone above mentioned that Patti will be up against Sutton for the Tony, but I suspect the producers of Company will try to get Patti in the Featured category so as to not compete against Katrina. Tony nominations are another topic. LOL. I don't LOVE this show, but I do love this cast.

Saw this for the cast. As noted, Mamet is so difficult to get right, but I'd see Fishburne read the phone book, and Sam Rockwell is such a chameleon that I was very excited. Criss was charming and fun on Glee, charming and enticing in How to Succeed, charming and straight in Hedwig, and charming and terrifying in The Killing of Versace. And here he was the antithesis of all. So hangdog and insecure, you almost couldn't find him on the set. I was so impressed by his performance. Saw it a number of years ago with Cedric the Entertainer, John Leguizamo and Haley Joel Osment all of whom did service to the play, but this production shows how good Mamet can be. I got a $55 +points ticket through Audience Rewards, and had a great seat. One of the rare occasions at this theater, where you want to be along the sides of the thrust. MUCH of the action is close to the back of the thrusting stage.