skynyc

I've seen a lot of good plays this year.
I loved Mother Play and Stereophonic (I think Tony winner.)  I thought Appropriate was great.  Went back to Purlie twice. 
Awed by Mary Jane. 
Jaja's African Hair Braiding and The Shark is Broken were both very entertaining. 
Laughed at Oh, Mary and Ibsen's Ghost. 
Primary Trust and Swing State both impressed and Philadelphia, Here I Come broke my heart. 
But All of Me which I saw last night at the Signature Pershing Theater Center was one of my favorite evenings of theater in a long time. Two disabled people meet, and communicate via text-to-speech technology. It wasn't on my radar at all until heartily recommended by a friend who is a much harsher critic than I.  
Now I am passing along a hearty recommendation. It's a very contemporary look at class, dating, parenting, and disability. 
I don't want to give too much away, but my fears of stereotypical characters and heavy dramatics were not realized. I was so impressed by the performances of the entire cast. (I only knew Madison Ferris from when she played the wheelchair-bound Laura in The Glass Menagerie with Sally Field (a production which I did NOT enjoy) and Kyra Sedgwick who has been on TV forever.) The production is tight and design fully depicts the differences of the two households. 
I bought my ticket for $37 on TDF three hours before the curtain, and we had amazing seats. Clearly not enough people are hearing about this play...(granted, because there's a LOT of good stuff on stage in NYC right now.) So I am bringing it to your attention. 
 
 

I've seen a lot of good plays this year.
I loved Mother Play and Stereophonic (I think Tony winner.)  I thought Appropriate was great.  Went back to Purlie twice. 
Awed by Mary Jane. 
Jaja's African Hair Braiding and The Shark is Broken were both very entertaining. 
Laughed at Oh, Mary and Ibsen's Ghost. 
Primary Trust and Swing State both impressed and Philadelphia, Here I Come broke my heart. 
But All of Me which I saw last night at the Signature Pershing Theater Center was one of my favorite evenings of theater in a long time. Two disabled people meet, and communicate via text-to-speech technology. It wasn't on my radar at all until heartily recommended by a friend who is a much harsher critic than I.  
Now I am passing along a hearty recommendation. It's a very contemporary look at class, dating, parenting, and disability. 
I don't want to give too much away, but my fears of stereotypical characters and heavy dramatics were not realized. I was so impressed by the performances of the entire cast. (I only knew Madison Ferris from when she played the wheelchair-bound Laura in The Glass Menagerie with Sally Field (a production which I did NOT enjoy) and Kyra Sedgwick who has been on TV forever.) The production is tight and design fully depicts the differences of the two households. 
I bought my ticket for $37 on TDF three hours before the curtain, and we had amazing seats. Clearly not enough people are hearing about this play...(granted, because there's a LOT of good stuff on stage in NYC right now.) So I am bringing it to your attention. 
 
 

I've seen a lot of good plays this year.
I loved Mother Play and Stereophonic (I think Tony winner.)  I thought Appropriate was great.  Went back to Purlie twice. 
Awed by Mary Jane. 
Jaja's African Hair Braiding and The Shark is Broken were both very entertaining. 
Laughed at Oh, Mary and Ibsen's Ghost. 
Primary Trust and Swing State both impressed and Philadelphia, Here I Come broke my heart. 
But All of Me which I saw last night at the Signature Pershing Theater Center was one of my favorite evenings of theater in a long time. Two disabled people meet, and communicate via text-to-speech technology. It wasn't on my radar at all until heartily recommended by a friend who is a much harsher critic than I.  
Now I am passing along a hearty recommendation. It's a very contemporary look at class, dating, parenting, and disability. 
I don't want to give too much away, but my fears of stereotypical characters and heavy dramatics were not realized. I was so impressed by the performances of the entire cast. (I only knew Madison Ferris from when she played the wheelchair-bound Laura in The Glass Menagerie with Sally Field (a production which I did NOT enjoy) and Kyra Sedgwick who has been on TV forever.) The production is tight and design fully depicts the differences of the two households. 
I bought my ticket for $37 on TDF three hours before the curtain, and we had amazing seats. Clearly not enough people are hearing about this play...(granted, because there's a LOT of good stuff on stage in NYC right now.) So I am bringing it to your attention. 
 
 

I've seen a lot of good plays this year.
I loved Mother Play and Stereophonic (I think Tony winner.)  I thought Appropriate was great.  Went back to Purlie twice. 
Awed by Mary Jane. 
Jaja's African Hair Braiding and The Shark is Broken were both very entertaining. 
Laughed at Oh, Mary and Ibsen's Ghost. 
Primary Trust and Swing State both impressed and Philadelphia, Here I Come broke my heart. 
But All of Me which I saw last night at the Signature Pershing Theater Center was one of my favorite evenings of theater in a long time. Two disabled people meet, and communicate via text-to-speech technology. It wasn't on my radar at all until heartily recommended by a friend who is a much harsher critic than I.  
Now I am passing along a hearty recommendation. It's a very contemporary look at class, dating, parenting, and disability. 
I don't want to give too much away, but my fears of stereotypical characters and heavy dramatics were not realized. I was so impressed by the performances of the entire cast. (I only knew Madison Ferris from when she played the wheelchair-bound Laura in The Glass Menagerie with Sally Field (a production which I did NOT enjoy) and Kyra Sedgwick who has been on TV forever.) The production is tight and design fully depicts the differences of the two households. 
I bought my ticket for $37 on TDF three hours before the curtain, and we had amazing seats. Clearly not enough people are hearing about this play...(granted, because there's a LOT of good stuff on stage in NYC right now.) So I am bringing it to your attention. 
 
 

I've seen a lot of good plays this year.
I loved Mother Play and Stereophonic (I think Tony winner.)  I thought Appropriate was great.  Went back to Purlie twice. 
Awed by Mary Jane. 
Jaja's African Hair Braiding and The Shark is Broken were both very entertaining. 
Laughed at Oh, Mary and Ibsen's Ghost. 
Primary Trust and Swing State both impressed and Philadelphia, Here I Come broke my heart. 
But All of Me which I saw last night at the Signature Pershing Theater Center was one of my favorite evenings of theater in a long time. Two disabled people meet, and communicate via text-to-speech technology. It wasn't on my radar at all until heartily recommended by a friend who is a much harsher critic than I.  
Now I am passing along a hearty recommendation. It's a very contemporary look at class, dating, parenting, and disability. 
I don't want to give too much away, but my fears of stereotypical characters and heavy dramatics were not realized. I was so impressed by the performances of the entire cast. (I only knew Madison Ferris from when she played the wheelchair-bound Laura in The Glass Menagerie with Sally Field (a production which I did NOT enjoy) and Kyra Sedgwick who has been on TV forever.) The production is tight and design fully depicts the differences of the two households. 
I bought my ticket for $37 on TDF three hours before the curtain, and we had amazing seats. Clearly not enough people are hearing about this play...(granted, because there's a LOT of good stuff on stage in NYC right now.) So I am bringing it to your attention. 
 
 

I saw this last night, and there are some great things about it. It's very faithful to the book. (Didn't see the movie.) The score is stronger in the first act...but pretty deadly for a chunk of the second act. None of the ballads are very good. Jakob (Grant Gustin - TV's The Flash) has a song about stars that comes near the end of Act 1, that is too long and his singing is fine for the bigger numbers, but I don't think he was able to pull off the ballad, or the love duet in the second act. (However, he is pretty spectacular to look at.) Marlena (Isabelle MacCalla) has a ballad in the second act, which felt endless. The score is by "Pigpen Theatre Co." which according to the program consists of 7 fellows who have written and performed some off-Broadway and regional works. This collective didn't to my mind provide enough of a connective spirit for the score, but some of the bigger numbers were very strong, and there's some stunning choral arrangements for the cast. The ensemble is strong. Paul Alexander Nolan is truly a menacing villain, August. He is dangerous and mercurial, and not entirely two-dimensional, (...which he is in the book.) The show is pretty impressive viewing...there are some good circus acts, one in particular: a wounded horse imagining his younger days. The second act is muddled, and could be trimmed quite a lot...my companion didn't follow what happened in the big climax. (And there must have been some incident at the end of Act 1, because the intermission was longer than 25 minutes with a lot of folks running up and down the side aisle to the stage access door.) 
Part Lion King, part recent circus-themed revival of Pippin, part The Notebook (the reminiscent framing device seems to be very popular now), it's an engaging, if predictable story. It was worth the terrific discounted $100 seats we had, but I am glad we didn't pay more. 

This Encores production of the homage to the music of Jelly Roll Morton is pretty spectacular. The cast is superb, and I could write a sonnet to each. LOL. Nicholas Christopher is terrific as Jelly...so hard to tread that line of the anti-hero...mistreating everyone around him, and still make him likable. (Especially after Gregory Hines' Tony winning original which is still pretty iconic in my head.) Billy Porter is the best I've seen him lately as the Chimney Man. Leslie Uggams at age 80 is in great voice and looks like a million bucks. Joaquina Kalukangu sings the hell out of Anita. Like in Paradise Square two years ago, she holds her long notes that folks just don't wait for her to stop to start applauding. (which I hate, by the way.) And the highlight for me was the three original Hunnies: Allison Williams, Mamie Duncan Gibbs, and Stephanie Pope.
And the dancing is the best on Broadway this season...(and it's not on Broadway.) The tapping is spectacular. 
I don't know how they managed to put this together in their short rehearsal time, but I recommend it highly. 
 

I saw this last night, and there are some great things about it. It's very faithful to the book. (Didn't see the movie.) The score is stronger in the first act...but pretty deadly for a chunk of the second act. None of the ballads are very good. Jakob (Grant Gustin - TV's The Flash) has a song about stars that comes near the end of Act 1, that is too long and his singing is fine for the bigger numbers, but I don't think he was able to pull off the ballad, or the love duet in the second act. (However, he is pretty spectacular to look at.) Marlena (Isabelle MacCalla) has a ballad in the second act, which felt endless. The score is by "Pigpen Theatre Co." which according to the program consists of 7 fellows who have written and performed some off-Broadway and regional works. This collective didn't to my mind provide enough of a connective spirit for the score, but some of the bigger numbers were very strong, and there's some stunning choral arrangements for the cast. The ensemble is strong. Paul Alexander Nolan is truly a menacing villain, August. He is dangerous and mercurial, and not entirely two-dimensional, (...which he is in the book.) The show is pretty impressive viewing...there are some good circus acts, one in particular: a wounded horse imagining his younger days. The second act is muddled, and could be trimmed quite a lot...my companion didn't follow what happened in the big climax. (And there must have been some incident at the end of Act 1, because the intermission was longer than 25 minutes with a lot of folks running up and down the side aisle to the stage access door.) 
Part Lion King, part recent circus-themed revival of Pippin, part The Notebook (the reminiscent framing device seems to be very popular now), it's an engaging, if predictable story. It was worth the terrific discounted $100 seats we had, but I am glad we didn't pay more. 

This Encores production of the homage to the music of Jelly Roll Morton is pretty spectacular. The cast is superb, and I could write a sonnet to each. LOL. Nicholas Christopher is terrific as Jelly...so hard to tread that line of the anti-hero...mistreating everyone around him, and still make him likable. (Especially after Gregory Hines' Tony winning original which is still pretty iconic in my head.) Billy Porter is the best I've seen him lately as the Chimney Man. Leslie Uggams at age 80 is in great voice and looks like a million bucks. Joaquina Kalukangu sings the hell out of Anita. Like in Paradise Square two years ago, she holds her long notes that folks just don't wait for her to stop to start applauding. (which I hate, by the way.) And the highlight for me was the three original Hunnies: Allison Williams, Mamie Duncan Gibbs, and Stephanie Pope.
And the dancing is the best on Broadway this season...(and it's not on Broadway.) The tapping is spectacular. 
I don't know how they managed to put this together in their short rehearsal time, but I recommend it highly. 
 

I saw this last night, and there are some great things about it. It's very faithful to the book. (Didn't see the movie.) The score is stronger in the first act...but pretty deadly for a chunk of the second act. None of the ballads are very good. Jakob (Grant Gustin - TV's The Flash) has a song about stars that comes near the end of Act 1, that is too long and his singing is fine for the bigger numbers, but I don't think he was able to pull off the ballad, or the love duet in the second act. (However, he is pretty spectacular to look at.) Marlena (Isabelle MacCalla) has a ballad in the second act, which felt endless. The score is by "Pigpen Theatre Co." which according to the program consists of 7 fellows who have written and performed some off-Broadway and regional works. This collective didn't to my mind provide enough of a connective spirit for the score, but some of the bigger numbers were very strong, and there's some stunning choral arrangements for the cast. The ensemble is strong. Paul Alexander Nolan is truly a menacing villain, August. He is dangerous and mercurial, and not entirely two-dimensional, (...which he is in the book.) The show is pretty impressive viewing...there are some good circus acts, one in particular: a wounded horse imagining his younger days. The second act is muddled, and could be trimmed quite a lot...my companion didn't follow what happened in the big climax. (And there must have been some incident at the end of Act 1, because the intermission was longer than 25 minutes with a lot of folks running up and down the side aisle to the stage access door.) 
Part Lion King, part recent circus-themed revival of Pippin, part The Notebook (the reminiscent framing device seems to be very popular now), it's an engaging, if predictable story. It was worth the terrific discounted $100 seats we had, but I am glad we didn't pay more. 

I saw this last night, and there are some great things about it. It's very faithful to the book. (Didn't see the movie.) The score is stronger in the first act...but pretty deadly for a chunk of the second act. None of the ballads are very good. Jakob (Grant Gustin - TV's The Flash) has a song about stars that comes near the end of Act 1, that is too long and his singing is fine for the bigger numbers, but I don't think he was able to pull off the ballad, or the love duet in the second act. (However, he is pretty spectacular to look at.) Marlena (Isabelle MacCalla) has a ballad in the second act, which felt endless. The score is by "Pigpen Theatre Co." which according to the program consists of 7 fellows who have written and performed some off-Broadway and regional works. This collective didn't to my mind provide enough of a connective spirit for the score, but some of the bigger numbers were very strong, and there's some stunning choral arrangements for the cast. The ensemble is strong. Paul Alexander Nolan is truly a menacing villain, August. He is dangerous and mercurial, and not entirely two-dimensional, (...which he is in the book.) The show is pretty impressive viewing...there are some good circus acts, one in particular: a wounded horse imagining his younger days. The second act is muddled, and could be trimmed quite a lot...my companion didn't follow what happened in the big climax. (And there must have been some incident at the end of Act 1, because the intermission was longer than 25 minutes with a lot of folks running up and down the side aisle to the stage access door.) 
Part Lion King, part recent circus-themed revival of Pippin, part The Notebook (the reminiscent framing device seems to be very popular now), it's an engaging, if predictable story. It was worth the terrific discounted $100 seats we had, but I am glad we didn't pay more. 

I saw this last night, and there are some great things about it. It's very faithful to the book. (Didn't see the movie.) The score is stronger in the first act...but pretty deadly for a chunk of the second act. None of the ballads are very good. Jakob (Grant Gustin - TV's The Flash) has a song about stars that comes near the end of Act 1, that is too long and his singing is fine for the bigger numbers, but I don't think he was able to pull off the ballad, or the love duet in the second act. (However, he is pretty spectacular to look at.) Marlena (Isabelle MacCalla) has a ballad in the second act, which felt endless. The score is by "Pigpen Theatre Co." which according to the program consists of 7 fellows who have written and performed some off-Broadway and regional works. This collective didn't to my mind provide enough of a connective spirit for the score, but some of the bigger numbers were very strong, and there's some stunning choral arrangements for the cast. The ensemble is strong. Paul Alexander Nolan is truly a menacing villain, August. He is dangerous and mercurial, and not entirely two-dimensional, (...which he is in the book.) The show is pretty impressive viewing...there are some good circus acts, one in particular: a wounded horse imagining his younger days. The second act is muddled, and could be trimmed quite a lot...my companion didn't follow what happened in the big climax. (And there must have been some incident at the end of Act 1, because the intermission was longer than 25 minutes with a lot of folks running up and down the side aisle to the stage access door.) 
Part Lion King, part recent circus-themed revival of Pippin, part The Notebook (the reminiscent framing device seems to be very popular now), it's an engaging, if predictable story. It was worth the terrific discounted $100 seats we had, but I am glad we didn't pay more. 

I saw this last night, and there are some great things about it. It's very faithful to the book. (Didn't see the movie.) The score is stronger in the first act...but pretty deadly for a chunk of the second act. None of the ballads are very good. Jakob (Grant Gustin - TV's The Flash) has a song about stars that comes near the end of Act 1, that is too long and his singing is fine for the bigger numbers, but I don't think he was able to pull off the ballad, or the love duet in the second act. (However, he is pretty spectacular to look at.) Marlena (Isabelle MacCalla) has a ballad in the second act, which felt endless. The score is by "Pigpen Theatre Co." which according to the program consists of 7 fellows who have written and performed some off-Broadway and regional works. This collective didn't to my mind provide enough of a connective spirit for the score, but some of the bigger numbers were very strong, and there's some stunning choral arrangements for the cast. The ensemble is strong. Paul Alexander Nolan is truly a menacing villain, August. He is dangerous and mercurial, and not entirely two-dimensional, (...which he is in the book.) The show is pretty impressive viewing...there are some good circus acts, one in particular: a wounded horse imagining his younger days. The second act is muddled, and could be trimmed quite a lot...my companion didn't follow what happened in the big climax. (And there must have been some incident at the end of Act 1, because the intermission was longer than 25 minutes with a lot of folks running up and down the side aisle to the stage access door.) 
Part Lion King, part recent circus-themed revival of Pippin, part The Notebook (the reminiscent framing device seems to be very popular now), it's an engaging, if predictable story. It was worth the terrific discounted $100 seats we had, but I am glad we didn't pay more. 

This Encores production of the homage to the music of Jelly Roll Morton is pretty spectacular. The cast is superb, and I could write a sonnet to each. LOL. Nicholas Christopher is terrific as Jelly...so hard to tread that line of the anti-hero...mistreating everyone around him, and still make him likable. (Especially after Gregory Hines' Tony winning original which is still pretty iconic in my head.) Billy Porter is the best I've seen him lately as the Chimney Man. Leslie Uggams at age 80 is in great voice and looks like a million bucks. Joaquina Kalukangu sings the hell out of Anita. Like in Paradise Square two years ago, she holds her long notes that folks just don't wait for her to stop to start applauding. (which I hate, by the way.) And the highlight for me was the three original Hunnies: Allison Williams, Mamie Duncan Gibbs, and Stephanie Pope.
And the dancing is the best on Broadway this season...(and it's not on Broadway.) The tapping is spectacular. 
I don't know how they managed to put this together in their short rehearsal time, but I recommend it highly. 
 

This Encores production of the homage to the music of Jelly Roll Morton is pretty spectacular. The cast is superb, and I could write a sonnet to each. LOL. Nicholas Christopher is terrific as Jelly...so hard to tread that line of the anti-hero...mistreating everyone around him, and still make him likable. (Especially after Gregory Hines' Tony winning original which is still pretty iconic in my head.) Billy Porter is the best I've seen him lately as the Chimney Man. Leslie Uggams at age 80 is in great voice and looks like a million bucks. Joaquina Kalukangu sings the hell out of Anita. Like in Paradise Square two years ago, she holds her long notes that folks just don't wait for her to stop to start applauding. (which I hate, by the way.) And the highlight for me was the three original Hunnies: Allison Williams, Mamie Duncan Gibbs, and Stephanie Pope.
And the dancing is the best on Broadway this season...(and it's not on Broadway.) The tapping is spectacular. 
I don't know how they managed to put this together in their short rehearsal time, but I recommend it highly. 
 

This Encores production of the homage to the music of Jelly Roll Morton is pretty spectacular. The cast is superb, and I could write a sonnet to each. LOL. Nicholas Christopher is terrific as Jelly...so hard to tread that line of the anti-hero...mistreating everyone around him, and still make him likable. (Especially after Gregory Hines' Tony winning original which is still pretty iconic in my head.) Billy Porter is the best I've seen him lately as the Chimney Man. Leslie Uggams at age 80 is in great voice and looks like a million bucks. Joaquina Kalukangu sings the hell out of Anita. Like in Paradise Square two years ago, she holds her long notes that folks just don't wait for her to stop to start applauding. (which I hate, by the way.) And the highlight for me was the three original Hunnies: Allison Williams, Mamie Duncan Gibbs, and Stephanie Pope.
And the dancing is the best on Broadway this season...(and it's not on Broadway.) The tapping is spectacular. 
I don't know how they managed to put this together in their short rehearsal time, but I recommend it highly. 
 

This Encores production of the homage to the music of Jelly Roll Morton is pretty spectacular. The cast is superb, and I could write a sonnet to each. LOL. Nicholas Christopher is terrific as Jelly...so hard to tread that line of the anti-hero...mistreating everyone around him, and still make him likable. (Especially after Gregory Hines' Tony winning original which is still pretty iconic in my head.) Billy Porter is the best I've seen him lately as the Chimney Man. Leslie Uggams at age 80 is in great voice and looks like a million bucks. Joaquina Kalukangu sings the hell out of Anita. Like in Paradise Square two years ago, she holds her long notes that folks just don't wait for her to stop to start applauding. (which I hate, by the way.) And the highlight for me was the three original Hunnies: Allison Williams, Mamie Duncan Gibbs, and Stephanie Pope.
And the dancing is the best on Broadway this season...(and it's not on Broadway.) The tapping is spectacular. 
I don't know how they managed to put this together in their short rehearsal time, but I recommend it highly. 
 

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RENTMEN.EU Pornstar Performer & Rentboy in New York City, NY - AndyOnassis: PORN STAR ANDY ONASSIS IN NYC A long fave of mine in film...now in NYC. Has anyone had personal experience? 

Oh, the days of hiring from the back of Next Magazine, or in LA, Frontiers. I met up a couple times with a beautiful blonde surfer boy name Tod Canon in LA. So sweet and sexy. He was a couple years older than I, and not my usual type, smooth and blonde. But he had a gorgeous thick piece that he really knew how to use. And his bedroom talk was incredible. I wanted to date him so badly. I think in a scrapbook somewhere I have the Frontiers ad. 
 

Yes, I just saw that two, I am going to try to travel to  city to see him because he had told me some time ago this is definitely approaching the end so I don't want to miss opportunity to see him if it might again be last time for ever or for a long time. Wish me luck!! 
 
I a honest I tried with three other people, no connections. I don't know why. Just takes.. It really is sad for me to think Trev may not come back. He makes me feel so calm and nice and normal. There is not a lot of people like him. He is a unique person in world

Curious if your "yawns" are for this set of revivals, or revivals in general. This year's options are classic and contemporary, and the casts - and known material - are drawing audiences...which is good for NY. 
Are there any revivals you'd particularly like to see? I've been chomping at the bit for City of Angels to come back...with modern technology, the Color vs. B/W could be pretty impressive. 

I hired him a dozen or more times 6-8 years ago. He was my go-to when my regular wasn't available...and they were friends, so we always talked about each other. The above description about him being fun and charming and naughty is perfect. He's also great in bed. A power top...and he always seemed to prefer that to oral. Size is intimidating at first, but he knows how to handle it. 
Just typing this makes me want to call him again...but it's been ages and while I know he'd remember me, the thought makes me nervous. LOL. 

Yes, he told me he'd probably be back in NY this November, but didn't know if he'd be escorting. Last time I saw him, I asked him if there was a video he could share to tide me over, and he laughed and said he used to have an Only Fans page... sorry to have missed that. 

I hired him a dozen or more times 6-8 years ago. He was my go-to when my regular wasn't available...and they were friends, so we always talked about each other. The above description about him being fun and charming and naughty is perfect. He's also great in bed. A power top...and he always seemed to prefer that to oral. Size is intimidating at first, but he knows how to handle it. 
Just typing this makes me want to call him again...but it's been ages and while I know he'd remember me, the thought makes me nervous. LOL.