edjames

My thoughts and prayers for Aretha at this time. One of the all time greats.

My thoughts and prayers for Aretha at this time. One of the all time greats.

There are a number of factors to consider when planning your investment strategy.
First, your age. Are you nearing retirement age? How much money will you need for the future?
What is you tolerance for risk? The older you get, the more conservative you should be with your portfolio.
There are 3 words you should always consider when investing, "safe," "secure," and "insured."
Examine investments in bond funds or individual bonds in state and federal bonds that will decrease your taxes.
Diversify your portfolio to limit exposure.
Also, be careful of what friends and relatives advise you to do. Remember its not their money!

Interesting, but you're right nothing new, however, why are their no women profiled?

I just received this email from Adonis Lounge...
 
Shame, I was at Fairytail this past Saturday night and had a good time! I hope Tim, Luis and Dan will find a new venue soon. Good luck guys.
 
IMPORTANT ANNOUNCEMENT - Adonis/Spunk No Longer at Fairytail Lounge
 
Where to start...
 
Anyone who follows Adonis/me, whether in person or just via these email announcements, knows I do my best to always remain transparent anytime something happens requiring and explanation or announcement. We'll approach this the same way, openly and honestly, rather than providing a false account of events or explanation that leaves more questions than answers. Wednesday evening, Dan, Luis, and I were informed that we would no longer be needed to manage and/or run things dancer related at Fairytail Lounge, effective as of today. It did come as somewhat as a shock to all 3 of us, as there was no event or tragic disagreement that precipitated this meeting. Any explanation or account besides that is simply false. After a short meeting, we all agreed that our 3 year partnership with Fairytail Lounge had run it's course. There was no fighting or screaming and overall everything was quite amicable all things considered.
 
Nothing lasts forever and as we've seen over the years, venues come and go, but we always move forward. Each time an obstacle appears, new opportunities arise that inevitably make Adonis better and allow us to Evolve, pun intended for those of you who have been on board for awhile! We're already making moves that we're confident people will be very excited about. We'll have lots of exciting news and announcements this week, so open those emails for all the details!
 
Dan, Luis, and I plan to meet Tuesday to see what direction suits us best collectively and individually. We're both excited about the possibilities ahead for both Spunk and Adonis. Reflecting on the last 3 years leaves me in a place that can best be described in one word- gratitude. I'm genuinely grateful for the opportunity originally offered to me at Fairytail Lounge. I'm grateful Spunk decided to hop on board and partner up, and I'm grateful for the experience those 3 years has provided me on the current path forward.
 
Lastly, I'd be remiss if I did not comment on the actual Adonis/Spunk partnership of the last 3 years. Dan and Luis from Spunk are a breath of fresh air in what often times amounts to a very seedy business. They conduct themselves and their business with the utmost integrity and esteem. Rest assured, whatever direction we all end up following once the cards fall, we will remain allies and friends.

Alas the folks that should read and ay attention to that issue of Time Out will never see it. The whole issue is devoted to the do's and don't of etiquette in public places.
 
Last night I had an older woman sitting next to me at the American Ballet Theater at the Met. She continually cleared her throat every minute of the first act. It was annoying and distracting. I bolted from the row at the first intermission and plopped my behind in a 5th row center orchestra aisle seat and watched the remainder of Don Quixote, which was divine!

Alas the folks that should read and ay attention to that issue of Time Out will never see it. The whole issue is devoted to the do's and don't of etiquette in public places.
 
Last night I had an older woman sitting next to me at the American Ballet Theater at the Met. She continually cleared her throat every minute of the first act. It was annoying and distracting. I bolted from the row at the first intermission and plopped my behind in a 5th row center orchestra aisle seat and watched the remainder of Don Quixote, which was divine!

Alas the folks that should read and ay attention to that issue of Time Out will never see it. The whole issue is devoted to the do's and don't of etiquette in public places.
 
Last night I had an older woman sitting next to me at the American Ballet Theater at the Met. She continually cleared her throat every minute of the first act. It was annoying and distracting. I bolted from the row at the first intermission and plopped my behind in a 5th row center orchestra aisle seat and watched the remainder of Don Quixote, which was divine!

2018 Tony Award Winners: Full List

 
These are the winners of the 72nd annual Tony Awards. Read our latest updates and watch along with our theater critics.
 
Best Musical: “The Band’s Visit”
 
Best Play: “Harry Potter and the Cursed Child”
 
Best Revival of a Musical: “Once on This Island”
 
Best Revival of a Play: “Angels in America”
 
Best Book of a Musical: “The Band’s Visit,” Itamar Moses
 
Best Original Score: “The Band’s Visit,” Music and Lyrics: David Yazbek
 
Best Leading Actress in a Play: Glenda Jackson, “Three Tall Women”
 
Best Leading Actor in a Musical: Tony Shalhoub, “The Band’s Visit”
 
Best Leading Actress in a Musical: Katrina Lenk, “The Band’s Visit”
 
Best Featured Actor in a Play: Nathan Lane, “Angels in America”
 
Best Leading Actor in a Play: Andrew Garfield, “Angels in America”
 
Best Featured Actress in a Play: Laurie Metcalf, “Three Tall Women”
 
Best Featured Actor in a Musical: Ari’el Stachel, “The Band’s Visit”
 
Best Featured Actress in a Musical: Lindsay Mendez, “Carousel”
 
Best Scenic Design of a Play: Christine Jones, “Harry Potter and the Cursed Child”
 
Best Scenic Design of a Musical: David Zinn, “SpongeBob SquarePants”
 
Best Costume Design of a Play: Katrina Lindsay, “Harry Potter and the Cursed Child”
 
Best Costume Design of a Musical: Catherine Zuber, “My Fair Lady”
 
Best Lighting Design of a Play: Neil Austin, “Harry Potter and the Cursed Child”
 
Best Lighting Design of a Musical: Tyler Micoleau, “The Band’s Visit”
 
Best Direction of a Play: John Tiffany, “Harry Potter and the Cursed Child”
 
Best Direction of a Musical: David Cromer, “The Band’s Visit”
 
Best Choreography: Justin Peck, “Carousel”
 
Best Orchestrations: Jamshied Sharifi, “The Band’s Visit”
 
Sound Design in a Play: Gareth Fry, “Harry Potter and the Cursed Child”
 
Sound Design in a Musical: Kai Harada, “The Band’s Visit”
 
Special Tony Award for lifetime achievement in the theater: Chita Rivera, Andrew Lloyd Webber
 
Special Tony Award: Bruce Springsteen, John Leguizamo
 
Regional Theater Tony Award: La MaMa E.T.C.
 
Isabelle Stevenson Tony Award: Nick Scandalios
 
Tony Honors for excellence in the theater: Sara Krulwich, Bessie Nelson, Ernest Winzer Cleaners

2018 Drama Desk Awards winners: Full list led by ‘SpongeBob Square Pants,’ ‘Angels in America,’ ‘Carousel”

 
Winners of the 63rd annual Drama Desk Awards were revealed on June 3 during a ceremony at the Town Hall in midtown Manhattan that was hosted once again by Michael Urie. As with the Outer Critics Circle Awards, these kudos also consider both Broadway and off-Broadway fare. To that end, the Broadway production of “The Band’s Visit” was ineligible, save for its sound design which was deemed to be new and won with these voters.
 
X = Winner
 
PLAYS
 
Best Play
X – Admissions, by Joshua Harmon
Mary Jane, by Amy Herzog
Miles for Mary, by The Mad Ones
People, Places & Things, by Duncan Macmillan
School Girls; Or, The African Mean Girls Play, by Jocelyn Bioh
 
Best Revival of a Play
X – Angels in America
Hindle Wakes
In the Blood
Three Tall Women
Travesties
 
Best Director of a Play
Marianne Elliott, Angels in America
Jeremy Herrin, People, Places & Things
Joe Mantello, Three Tall Women
Lila Neugebauer, Miles for Mary
Simon Stone, Yerma
X – John Tiffany, Harry Potter and the Cursed Child
 
Best Actor in a Play
Johnny Flynn, Hangmen
X – Andrew Garfield, Angels in America
Tom Hollander, Travesties
James McArdle, Angels in America
Paul Sparks, At Home at the Zoo
 
Best Actress in a Play
Carrie Coon, Mary Jane
Denise Gough, People, Places & Things
X – Glenda Jackson, Three Tall Women
Laurie Metcalf, Three Tall Women
Billie Piper, Yerma
 
Best Featured Actor in a Play
Anthony Boyle, Harry Potter and the Cursed Child
Ben Edelman, Admissions
Brian Tyree Henry, Lobby Hero
X – Nathan Lane, Angels in America
David Morse, The Iceman Cometh
Gregg Mozgala, Cost of Living
 
Best Featured Actress in a Play
Jocelyn Bioh, In the Blood
X – Jamie Brewer, Amy and the Orphans
Barbara Marten, People, Places & Things
Deirdre O’Connell, Fulfillment Center
Constance Shulman, Bobbie Clearly
 
Best Music in a Play
X – Imogen Heap, Harry Potter and the Cursed Child
Justin Hicks, Mlima’s Tale, Public Theatre
Amatus Karim-Ali, The Homecoming Queen
Justin Levine, A Midsummer Night’s Dream
Adrian Sutton, Angels in America
 
Best Costume Design for a Play
Dede M. Ayite, School Girls; Or, The African Mean Girls Play
X – Jonathan Fensom, Farinelli and the King
Katrina Lindsay, Harry Potter and the Cursed Child
Ann Roth, Three Tall Women
Emilio Sosa, Venus, Signature Theatre
 
Best Lighting Design for a Play
X – Neil Austin, Harry Potter and the Cursed Child
Natasha Chivers, 1984
Alan C. Edwards, Kill Move Paradise
Paul Gallo, Three Tall Women
Paul Russell, Farinelli and the King
 
Best Set Design for a Play
X – Miriam Buether, Three Tall Women
Bunny Christie, People, Places & Things
Lizzie Clachan, Yerma
Maruti Evans, Kill Move Paradise
Louisa Thompson, In the Blood
 
Best Sound Design in a Play
Brendan Aanes, Balls
X – Gareth Fry, Harry Potter and the Cursed Child
Tom Gibbons, 1984
Tom Gibbons, People, Places & Things
Stefan Gregory, Yerma
Palmer Hefferan, Today is My Birthday
 
MUSICALS
 
Best Musical
Desperate Measures
KPOP
Mean Girls
Old Stock: A Refugee Love Story
X – SpongeBob SquarePants
 
Best Revival of a Musical
Amerike-The Golden Land
Carousel
X – My Fair Lady
Once on This Island
Pacific Overtures
 
Best Director of a Musical
Christian Barry, Old Stock: A Refugee Love Story
Teddy Bergman, KPOP
Jack O’Brien, Carousel
X – Tina Landau, SpongeBob SquarePants
Bartlett Sher, My Fair Lady
 
Best Actor in a Musical
Jelani Alladin, Frozen
Harry Hadden-Paton, My Fair Lady
Joshua Henry, Carousel
Evan Ruggiero, Bastard Jones
X – Ethan Slater, SpongeBob SquarePants
 
Best Actress in a Musical
Gizel Jiménez, Miss You Like Hell
LaChanze, Summer
X – Jessie Mueller, Carousel
Ashley Park, KPOP
Daphne Rubin-Vega, Miss You Like Hell
 
Best Featured Actor in a Musical
Damon Daunno, The Lucky Ones
Alexander Gemignani, Carousel
Grey Henson, Mean Girls
X – Gavin Lee, SpongeBob SquarePants
Tony Yazbeck, Prince of Broadway
 
Best Featured Actress in a Musical
X – Lindsay Mendez, Carousel
Kenita R. Miller, Once on This Island
Ashley Park, Mean Girls
Diana Rigg, My Fair Lady
Kate Rockwell, Mean Girls
 
Best Music
The Bengsons, The Lucky Ones
Ben Caplan, Christian Barry, Old Stock: A Refugee Love Story
X – David Friedman, Desperate Measures
Erin McKeown, Miss You Like Hell
Helen Park, Max Vernon, KPOP
 
Best Lyrics
Nell Benjamin, Mean Girls
Quiara Alegría Hudes/Erin McKeown, Miss You Like Hell
X – Peter Kellogg, Desperate Measures
Helen Park, Max Vernon, KPOP
 
Best Book of a Musical
X – Tina Fey, Mean Girls
Kyle Jarrow, SpongeBob Squarepants
Peter Kellogg, Desperate Measures
Hannah Moscovitch, Old Stock: A Refugee Love Story
 
Best Choreography
Camille A. Brown, Once on This Island
Christopher Gattelli, SpongeBob SquarePants
Casey Nicholaw, Mean Girls
X – Justin Peck, Carousel
Nejla Yatkin, The Boy Who Danced on Air
 
Best Orchestrations
Tom Kitt, SpongeBob SquarePants
Annmarie Milazzo and Michael Starobin (John Bertles and Bash the Trash, found instrument design) Once on This Island
Charlie Rosen, Erin McKeown, Miss You Like Hell
Jonathan Tunick, Pacific Overtures
X – Jonathan Tunick, Carousel
 
Best Costume Design for a Musical
Gregg Barnes, Mean Girls
Clint Ramos, Once on This Island
David Zinn, SpongeBob SquarePants
X – Catherine Zuber, My Fair Lady
Dede M. Ayite, Bella: An American Tall Tale
 
Best Lighting Design for a Musical
Louisa Adamson, Christian Barry, Old Stock: A Refugee Love Story
Amith Chandrashaker, The Lucky Ones
X – Jules Fisher, Peggy Eisenhauer, Once on This Island
Brian MacDevitt, Carousel
Jeanette Oi-Suk Yew, KPOP
 
Best Set Design for a Musical
Louisa Adamson, Christian Barry, Old Stock: A Refugee Love Story
Beowulf Boritt, Prince of Broadway, Manhattan Theatre Club
Dane Laffrey, Once on This Island
Santo Loquasto, Carousel
X – David Zinn, SpongeBob SquarePants
 
Best Sound Design in a Musical
X – Kai Harada, The Band’s Visit
Scott Lehrer, Carousel
Will Pickens, KPOP
Dan Moses Schreier, Pacific Overtures

He's OK
Saw him outside his condo building.
I'm sure they'll make some adjustments for his injury.
(He lives up the block, next door to Jimmy Fallon)

Today's NYTimes, Jessie Green called it "plush and thrilling"....
 
Review: Whose ‘Fair Lady’? This Time, Eliza’s in Charge
By JESSE GREEN. APRIL 19, 2018

Lauren Ambrose, at center, letting loose at the racetrack in the Lincoln Center Theater revival of “My Fair Lady.”
Poor Eliza. It’s not enough that her own father sells her for five pounds to the bully phonetician Henry Higgins. Or that Higgins strips her of her ragged clothes and Cockney accent so she can become a refined if useless lady.
No, the former flower girl is also a failure of feminism, if recent criticism is to be believed.
Don’t believe it.
The plush and thrilling Lincoln Center Theater revival of Lerner and Loewe’s “My Fair Lady” that opened on Thursday at the Vivian Beaumont Theater reveals Eliza Doolittle as a hero instead of a puppet — and reveals the musical, despite its provenance and male authorship, as an ur-text of the #MeToo moment. Indeed, that moment has made “My Fair Lady,” which had its Broadway premiere in 1956, better than it ever was.

It was always good, of course, one of the gleaming artifacts and loveliest scores of the Golden Age of American musical theater — a canon now being contested, with cause, for its unenlightened sexual politics.
 
Yet for all of the wrangling over abuse and objectification in “Carousel,” “Kiss Me, Kate” and other midcentury titles, “My Fair Lady” is a totally different beast, a satire of class and gender privilege rather than a harrowing drama or lightweight romp about them. In avoiding those extremes, “My Fair Lady” always seemed egalitarian enough, but perhaps too cool and refined for its own good: a perfect musical, not a great one.
 


Ms. Ambrose, in flower-seller mode, meeting Harry Hadden-Paton as Henry Higgins.CreditSara Krulwich/The New York Times
I’m not so sure anymore. The director Bartlett Sher’s production uses the current climate of re-examination not only to restore the show’s feminist argument — so lively in the George Bernard Shaw play “Pygmalion,” on which it’s based — but also to warm it up considerably. He achieves this with only minor additions to the text, all drawn from the 1913 original or from Shaw’s screenplay for the 1938 film starring Wendy Hiller and Leslie Howard. Fittingly, the effect of these tweaks, along with some major nonverbal alterations, is transformative.
 
So is Lauren Ambrose as a feral and then luminous Eliza. At first, Ms. Ambrose concentrates, perhaps too hard, on Eliza’s unlikeliness as the subject of a bet between Higgins and his friend Colonel Pickering. (Higgins wagers that he can pass Eliza off as a duchess after six months’ re-education.) She squints and lumbers and makes hay of the “bilious pigeon” sounds that drive Higgins to distraction.
 
But she is also laying the groundwork for our understanding that Eliza is as powerful a woman as her circumstances permit. It is she who seizes the moment of a chance meeting, outside the Covent Garden opera house where she sells violets to the swells, to make changes she has clearly been imagining for years. She is not the ivory Galatea of the Pygmalion myth, sculpted by a man who despises real women. She sculpts herself, with Higgins as her tool.
 
We understand this not only from the ferocity of her interactions with him but also from the way she sings. The big revelation of this production is that Ms. Ambrose has a stirring voice: lustrous and rich if without the bright ping of most Elizas. That turns out to be an advantage. She delivers her first number — “Wouldn’t It Be Loverly?” — very quietly and with an intense longing that digs beneath its surface charm to find its stillness and steel.
 
This sets “My Fair Lady” off in a new direction. The question quickly becomes not whether Eliza will succeed — of course she will — but whether Higgins can accept her success. Will he join her in it, or get out of the way?
Both outcomes seem possible in Harry Hadden-Paton’s wily interpretation, which puts the character’s mansplaining, blowhard ways in context. Younger than the typical Higgins (but more the age Shaw imagined), Mr. Hadden-Paton,best known for playing unambiguous good guys on “Downton Abbey” and “The Crown,” makes sense of the character’s on-off switch of vulnerability and hauteur. He is a baby.
 
This makes him more coherent and potentially more forgivable; he, too, is a captive of his gender and class. As Ms. Ambrose’s Eliza completes her metamorphosis, increasing in stature and radiance and vocal power, he grows more baffled and petulant, more protective of his privilege.
 
That privilege is on full display in this typically deluxe Lincoln Center Theater production. It has by now become almost unremarkable — until you look elsewhere on Broadway — that the company has sprung for 29 musicians to play the original, unimprovable orchestrations by Robert Russell Bennett and Phil Lang. Mercifully, the excellent work of the music director, Ted Sperling, is preserved in Marc Salzberg’s understated and naturally balanced sound design.
 
Balance if not understatement is the production’s visual hallmark too; Mr. Sher alternates between very spare, contemporary stage pictures and Higgins’s imposing (and rotating) Wimpole Street townhouse. This alternation provides the wow factor we expect at Lincoln Center — the house heaves into view like the ship in Mr. Sher’s 2015 production of “The King and I” — but also serves a thematic purpose.
 
At every turn the designers (sets by Michael Yeargan, costumes by Catherine Zuber, lighting by Donald Holder) ask us to consider the economic contrasts that govern Eliza’s world. Higgins’s home is a sybarite’s mansion, crowded with servants and modern art. The scene in which Eliza practices her shaky new identity at the opening day of the Ascot races — one of the greatest comic sequences in all musicals — is a gorgeous study of silver and lavender in elegant, forbidding silhouettes.

And though Diana Rigg as Higgins’s mother is the definition of luxury casting, as a former Eliza (in the 1974 West End “Pygmalion” with Alec McCowen) she automatically suggests a kinship with her son’s pupil that locks their cross-class solidarity into place. A suffragist march that winds through one of the ensemble scenes underlines the idea.
 
Such telltales of a feminist reading are not merely opportune; they are accurate to Shaw’s intent. It was he who had Pickering ask whether Higgins is a “man of good character where women are concerned” — to which Higgins in essence responds: There’s no such thing. Higgins, for all his brutishness, understands that relations between the sexes have been hopelessly muddled by social constructs of gender and class; as a wealthy intellectual he can try, as Shaw did, to abstain from the mess entirely.
 
But “My Fair Lady,” being a classic musical and thus nearly synonymous with romance, keeps complicating that resolve. Infamously, Lerner and Loewe borrowed the ending that was tacked onto the 1939 film without Shaw’s prior approval: the one in which Eliza returns to Higgins’s study as if to become his helpmeet if not his wife.
 
I don’t want to spoil this marvelous, redemptive revival’s resolution of that discrepancy. But Mr. Sher’s final image shows how history — even if it took 100 years — would eventually start to outgrow its brutes, and how it still might do so compassionately, by teaching them a lesson.
 

I liked it, but I wasn't overwhelmed. Tony Shaloub has moved on to film his TV show, his role is now filled by actor, Dariush Kashani.
Katrina Lenk's performance is mesmerizing. She has an earthy sexual aura and you cannot help but focus on every moment of her performance.
The music is good. Best musical? I don't know. Still, an enjoyable piece of theater.

A little background from the film's director...
 
William Friedkin dishes on the original ‘Boys in the Band’
By Michael Riedel May 3, 2018 | 8:22p
 

A scene from William Friedkin's 1970 film version of "The Boys in the Band."Everett Collection
 
An all-star cast began previews this week in “The Boys in the Band,” Mart Crowley’s 1968 play about a group of gay men who throw a party — and plenty of bitchy zingers.
 
So it seemed fitting to catch up with William Friedkin, the Oscar-winning director who made the 1970 movie.
 
The actors in the Broadway revival — Jim Parsons, Matt Bomer, Andrew Rannells and Zachary Quinto, among them — are openly gay.
Fifty years ago, that would have been unthinkable.
 
“When we made ‘Boys in the Band,’ you couldn’t say you were gay and get a job,” says Friedkin, who also directed “The French Connection” and “The Exorcist.”
 
But Friedkin, who’s straight (wife No. 1 was Jeanne Moreau, wife No. 4 is Sherry Lansing), didn’t think twice about making the movie.
 
“I didn’t give a flying f–k into a rolling doughnut about any of that,” he says over lunch at the Carlyle Hotel. “And you know why? Because the play is brilliant. The characters are finely drawn and there is wonderful wit. It’s a bit reminiscent of Oscar Wilde. It can be mentioned in the same sentence.”
 
Crowley wrote “The Boys in the Band” at a low point in his life. He was “down on my ass and dead broke,” he once told me, and was house-sitting for actress Diana Lynn in Beverly Hills. He’d gone through a heavy period of drinking and, trying to keep his head clear, rattled off the play in four days by the pool.
 
“A great combination of anger and despair,” he said, fueled the writing.
 
The play opened off-Broadway and was an immediate hit, propelled in part by an exceptional cast, including Laurence Luckinbill, Leonard Frey, Cliff Gorman, Peter White and Keith Prentice.
 
When Friedkin saw the play, he made a key decision.
 
“I loved those guys,” he says. “And I told Mart, ‘We’re not going to cast anybody but them.’”
 
Theater buffs cherish the movie because it’s a record of the original production, though Friedkin says he didn’t shoot “The Boys in the Band” like a stage play.
 
“I moved it around like it was a Luis Buñuel film,” he says with a laugh.
 
He shot the opening in Greenwich Village, and it’s fun to see what the neighborhood looked like in 1969, decades before Marc Jacobs stores lined the streets and luxury apartment buildings shot up along the Hudson.
 
While the play is set in the Village, the apartment in the movie is on East 68th Street. At the time, it belonged to the actress Tammy Grimes.
 
“Mart knew her, and he brought me up to look at her place,” says Friedkin. “She was very open to it. The scenes where they’re hanging crepe paper and getting ready for the party were shot in the daylight on her deck. We moved into a studio to shoot the night scenes.”
 
Frey has an unforgettable turn as the lethally bitchy Harold, who was based on Howard Jeffrey, a Broadway choreographer who died of AIDS in 1988.
 
Frey also died of AIDS, as did some other members of the original cast.
 
The straight members of the cast — Gorman, Luckinbill and White – took a risk to be in the movie. Their agents warned them that they would lose jobs if they did. Luckinbill, in fact, was dropped from a tobacco commercial.
 
“They did the movie because the roles are just so damned good,” says Friedkin, who also directed “Cruising,” the 1980 Al Pacino thriller whose gay-themed violence touched off a controversy.
 
Written a year before the Stonewall riots, “The Boys in the Band” is a time capsule, to be sure, but Friedkin says it meant a great deal to a generation of gay men.
 
“I hear from guys all the time that this was the film that helped them come out of the closet,” says Friedkin, now 82. “It gave them the courage not to be ashamed.”

I concur with the advice previously given by others urging you to exercise more and increase the circulation to the your legs. Simple, easy movement and stretching will help. All those supplements are wasting your money. A good trainer, and/or a physical therapist, who specialize in senior "disabilities" would be a good start. I might also offer the suggestion to try "Easy Yoga", a good and proven way to move and stretch your body without a lot of stress. The advice to start slowly is also key. Don't overdo it. Good luck and feel better.

I concur with the advice previously given by others urging you to exercise more and increase the circulation to the your legs. Simple, easy movement and stretching will help. All those supplements are wasting your money. A good trainer, and/or a physical therapist, who specialize in senior "disabilities" would be a good start. I might also offer the suggestion to try "Easy Yoga", a good and proven way to move and stretch your body without a lot of stress. The advice to start slowly is also key. Don't overdo it. Good luck and feel better.

I concur with the advice previously given by others urging you to exercise more and increase the circulation to the your legs. Simple, easy movement and stretching will help. All those supplements are wasting your money. A good trainer, and/or a physical therapist, who specialize in senior "disabilities" would be a good start. I might also offer the suggestion to try "Easy Yoga", a good and proven way to move and stretch your body without a lot of stress. The advice to start slowly is also key. Don't overdo it. Good luck and feel better.

BRAVA CHITA!!!!

Tonys Honor a New York Times Theater Photographer


“At first people wouldn’t let me in — why would they let someone in who wasn’t going to let them see the photo ahead of time?” Sara Krulwich said in an interview. “It made no sense to people.”CreditTodd Heisler/The New York Times
Sara Krulwich, a longtime theater photographer who has documented decades of Broadway history for The New York Times, is being honored for “extraordinary achievement” by the Tony Awards.
 
The awards administrators said Wednesday that Ms. Krulwich, who has been a staff photographer at The Times since 1979, would be among three recipients of this year’s Tony Honors for Excellence in the Theater, which are given to individuals, organizations and institutions that have contributed to the theater industry but are not eligible in any established Tony Awards categories.
 
The Tony Awards will also give honors for excellence to Bessie Nelson, a longtime costume beader, and to Ernest Winzer Cleaners, a 110-year-old business with a specialty in costume work.
 
Earlier this week, Tony administrators announced that this year’s lifetime achievement awards would go to the composer Andrew Lloyd Webber and the performer Chita Rivera, and that an annual award for volunteerism would go to Nick Scandalios, executive vice president of the Nederlander Organization, for his work as an advocate for gay parents and their children.
 
Ms. Krulwich, 67, became the first culture photographer for The Times in 1994, and gradually made theater into a beat as she successfully fought to win access from producers accustomed to relying on photographers they hired. “At first people wouldn’t let me in — why would they let someone in who wasn’t going to let them see the photo ahead of time?” Ms. Krulwich said in an interview. “It made no sense to people.”
 
Access continues to be a challenge. “One hundred percent of the time there is a question — whether I’ll get in, how much I can shoot, where I can shoot,” she said. “But it’s the rare play that doesn’t let me shoot something.”
 
Among the early milestones of Ms. Krulwich’s career: She photographed developmental work on the Broadway production of Tony Kushner’s masterwork, “Angels in America,” and she photographed Jonathan Larson, the writer and composer of “Rent,” hours before his unexpected death the night before the show’s first Off Broadway preview at New York Theater Workshop. A more recent memory: She shot the final dress rehearsal of “Hamilton,” just before the first preview for that show’s Off Broadway production at the Public Theater.
 
She said she looks for “emotion and energy” when composing a photograph.
 
“I think this is the best job in the world,” Ms. Krulwich said. “I’m surrounded by these amazing people, everybody I watch is at the top of their careers, and I’m inside while they’re thinking about how to make theater. I love it.”

BRAVA CHITA!!!!

Tonys Honor a New York Times Theater Photographer


“At first people wouldn’t let me in — why would they let someone in who wasn’t going to let them see the photo ahead of time?” Sara Krulwich said in an interview. “It made no sense to people.”CreditTodd Heisler/The New York Times
Sara Krulwich, a longtime theater photographer who has documented decades of Broadway history for The New York Times, is being honored for “extraordinary achievement” by the Tony Awards.
 
The awards administrators said Wednesday that Ms. Krulwich, who has been a staff photographer at The Times since 1979, would be among three recipients of this year’s Tony Honors for Excellence in the Theater, which are given to individuals, organizations and institutions that have contributed to the theater industry but are not eligible in any established Tony Awards categories.
 
The Tony Awards will also give honors for excellence to Bessie Nelson, a longtime costume beader, and to Ernest Winzer Cleaners, a 110-year-old business with a specialty in costume work.
 
Earlier this week, Tony administrators announced that this year’s lifetime achievement awards would go to the composer Andrew Lloyd Webber and the performer Chita Rivera, and that an annual award for volunteerism would go to Nick Scandalios, executive vice president of the Nederlander Organization, for his work as an advocate for gay parents and their children.
 
Ms. Krulwich, 67, became the first culture photographer for The Times in 1994, and gradually made theater into a beat as she successfully fought to win access from producers accustomed to relying on photographers they hired. “At first people wouldn’t let me in — why would they let someone in who wasn’t going to let them see the photo ahead of time?” Ms. Krulwich said in an interview. “It made no sense to people.”
 
Access continues to be a challenge. “One hundred percent of the time there is a question — whether I’ll get in, how much I can shoot, where I can shoot,” she said. “But it’s the rare play that doesn’t let me shoot something.”
 
Among the early milestones of Ms. Krulwich’s career: She photographed developmental work on the Broadway production of Tony Kushner’s masterwork, “Angels in America,” and she photographed Jonathan Larson, the writer and composer of “Rent,” hours before his unexpected death the night before the show’s first Off Broadway preview at New York Theater Workshop. A more recent memory: She shot the final dress rehearsal of “Hamilton,” just before the first preview for that show’s Off Broadway production at the Public Theater.
 
She said she looks for “emotion and energy” when composing a photograph.
 
“I think this is the best job in the world,” Ms. Krulwich said. “I’m surrounded by these amazing people, everybody I watch is at the top of their careers, and I’m inside while they’re thinking about how to make theater. I love it.”